How can history and traditions be reimagined for today’s audiences?
Patricia Lent of Merce Cunningham Trust, an experienced restager, along with theater-maker Richard Schechner, video/installation artist Sharon Hayes, and UC Berkeley professor and moderator Shannon Jackson, here explores the difficulties of recreating works of performance, and how the terms used to describe such acts—restaging, reconstructing, reenacting—vary across disciplines.
Poet and 2013 Pew Fellow Sueyeun Juliette Lee discusses the limitations of cross-cultural translation as a "border to try to leap over."
As interest in contemporary performance art grows, reconstruction and restaging have become critical methods in understanding the almost-lost moments of seminal early performances.
Patricia Lent of the Merce Cunningham Trust, theater-maker Richard Schechner, and video/installation artist Sharon Hayes gather to discuss the question of reenactment in cultural practice, with UC Berkeley professor Shannon Jackson as moderator.
Legendary downtown theater artist Richard Schechner asks, "What's the difference between forgery and art," between "new" and "original?"
Ramsburg shares some of her experiences as Craig Anderson, the motivations behind her character (her "impression" in reenactment terminology), and her goals as a reenactor.
We asked MacArthur award-winning saxophonist and composer Ken Vandermark a deceptively simple question: Is jazz dead?
How might a world-famous art collection—its components, its composition—inform a new piece of music? MacArthur award-winning saxophonist and composer Ken Vandermark, whose new commission is a response to Philadelphia’s legendary Barnes Foundation, shares his thoughts.
Flamenco purists may consider Israel Galván a rebel, though he doesn't see it that way.
Julia Wolfe explains how she transformed the historical nuggets of her research into a 45-minute live performance by the 140-voice Mendelssohn Club of Philadelphia.