Classical ballet dancers and migrant workers walk alongside the crowd in this shape-shifting ballet by Danish artist and filmmaker Jesper Just. A modern experience inspired by Jorge Luis Borges, this performance rethinks the meaning of maps, who makes them, and the artificial borders we create. Context is everything, so we’ve provided some articles to read and videos to watch. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #Interpassivities.
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Wednesday, October 31, 2018
In Context: Falling Out
Falling Out is is both a conclusion and a beginning: the final work in Phantom Limb Company’s decade-long trilogy about climate change, the piece strives to spark conversation and action on environmental issues. Context is everything, so we’ve provided some links below for you to contribute, read, watch, and listen to content that will enhance your understanding of the show and the issues. Add your perspective to the conversation by leaving a message with the Memory Telephone, or posting in the comments below and on social media using #BAMNextWave.
Less-Than-Strange Window: A Hunt for the Supernatural at BAM
By Claire Greising
Strange Window: The Turn of the Screw, an inventive adaptation of Henry James’ gothic ghost story, is coming to BAM from Dec 12—15. It tells the story of a young governess who has become convinced that there are evil ghosts lurking in the remote estate where she cares for two children. In a spectacular marriage of past and present, The Builders Association’s new production combines the classic narrative with modern technology and experimental theater practices. Told from the perspective of the governess, the production points out the relativity of truth—leaving the audience to decide if the governess is insane or if the ghosts are real.
Strange Window: The Turn of the Screw, an inventive adaptation of Henry James’ gothic ghost story, is coming to BAM from Dec 12—15. It tells the story of a young governess who has become convinced that there are evil ghosts lurking in the remote estate where she cares for two children. In a spectacular marriage of past and present, The Builders Association’s new production combines the classic narrative with modern technology and experimental theater practices. Told from the perspective of the governess, the production points out the relativity of truth—leaving the audience to decide if the governess is insane or if the ghosts are real.
Strange Window: The Turn of the Screw premiere at Krannert Center earlier this year. Photo courtesy of Krannert Center for the Performing Arts/University of Illinois at Urbana-Champaign. |
Tuesday, October 30, 2018
In Context: Savage Winter
Director Jonathan Moore’s Savage Winter paints a vivid portrait of a man at the end of his rope. Set to Douglas J. Cuomo’s electric score, which reinterprets Franz Schubert’s brooding Winterreise for our contemporary moment, the opera investigates human emotion in its most raw state. Savage Winter is a fiercely evocative opera, asking both its protagonist and its audience to confront the depths of despair and possibilities for redemption. Context is everything, so we’ve provided a curated selection of articles and videos for you to engage with before seeing the piece. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
Monday, October 29, 2018
What Can Puppets Teach Us About Climate Change—And Ourselves?
By Robert Jackson Wood
If you’ve seen the work of Jessica Grindstaff and Erik Sanko—who come to BAM November 7–10 with their latest work, Falling Out—you know the sense of leaving a theater perplexed. You feel enchanted but also unsettled, as though haunted by the work’s subconscious. You feel stuck—pleasantly, productively—in the inbetween.
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If you’ve seen the work of Jessica Grindstaff and Erik Sanko—who come to BAM November 7–10 with their latest work, Falling Out—you know the sense of leaving a theater perplexed. You feel enchanted but also unsettled, as though haunted by the work’s subconscious. You feel stuck—pleasantly, productively—in the inbetween.
Thursday, October 25, 2018
In Context: Satyagraha
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Photo: Markus Gårder |
Cirkus Cirkör lends its signature acrobatic grace and wit to Philip Glass’ mesmerizing operatic account of Mahatma Gandhi’s experiments with civil disobedience in this new production from Sweden's Folkoperan. Context is everything, so get even closer to the production with this curated selection of related articles and videos. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
Labels:
2018 Next Wave Festival,
opera,
physical theater,
Satyagraha
Wednesday, October 24, 2018
In Context: Kreatur
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©Sebastian Bolesch |
Kreatur is famed choreographer Sasha Waltz’s newest exploration of the human body and how it grapples with domination, technology, and the darkness within. With costume design from Iris van Herpen and an original score by Soundwalk Collective, Kreatur investigates how we relate to each other and to structures of power. Context is everything, so we’ve provided a curated selection of articles and videos for you to engage with before seeing the piece. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
Labels:
2018 Next Wave Festival,
dance,
Kreatur,
Sasha Waltz
Women at Work: The Domestic Is Not Free
By Natalie Erazo
The third iteration of Women at Work shifts to the subject of domestic labor. As homemakers, caretakers, and familial partners, women shape the well-being of our personal, professional, and cultural milieus, though these efforts often go unseen and are erased from history. Women at Work: The Domestic Is Not Free highlights the persistent efforts of women to create, challenge, and subvert domesticity around the world.
The third iteration of Women at Work shifts to the subject of domestic labor. As homemakers, caretakers, and familial partners, women shape the well-being of our personal, professional, and cultural milieus, though these efforts often go unseen and are erased from history. Women at Work: The Domestic Is Not Free highlights the persistent efforts of women to create, challenge, and subvert domesticity around the world.
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The Day I Became a Woman (2000), photo courtesy of Makhmalbaf Film House/Photofest |
Wednesday, October 17, 2018
Seeing every Next Wave Festival show
Tell us about yourself! What do you do for fun? Do you have any interesting facts about yourself?
I'm Liz! I moved to New York City 7 years ago and to Brooklyn 5 years ago, and I and have been going to BAM frequently since. I use some of my fun time to host a podcast about making good computer security for everyone called Loose Leaf Security (I promise this is fun for me!), but I spend most of it with the arts - either devouring performances at BAM and around NYC or dabbling in a variety of creative pursuits.
I'm Liz! I moved to New York City 7 years ago and to Brooklyn 5 years ago, and I and have been going to BAM frequently since. I use some of my fun time to host a podcast about making good computer security for everyone called Loose Leaf Security (I promise this is fun for me!), but I spend most of it with the arts - either devouring performances at BAM and around NYC or dabbling in a variety of creative pursuits.
Monday, October 15, 2018
In Context: Everywhere All the Time
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Photo: Travis Magee |
Seán Curran Company comes alive to the beat of a drum in celebration of their 20th anniversary. With live accompaniment from Grammy Award-winning ensemble Third Coast Percussion, this landmark evening of Curran’s new and classic choreography highlights the primordial nature of percussion. Context is everything, so get even closer to the production with this curated selection of related articles, videos, podcasts, and more. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
In Context: Watermill
Labels:
2018 Next Wave Festival,
dance,
Jerome Robbins,
Watermill
In Context: I hunger for you
Kreatur’s Creators
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Kreatur. Photo: Ute Zscharnt |
In Context: Measure for Measure
London’s Cheek by Jowl and Moscow’s Pushkin Theatre propels Shakespeare’s “problem play” into a timely juggernaut of political critique. Context is everything so get even closer to the production with this curated selection of related articles and videos. After you’ve attended the show, let us know your thoughts by posting in the comments below and on social media using #BAMNextWaveFestival.
In Context: JACK &
Theater artist Kaneza Schaal joins forces with actor Cornell Alston and artist Christopher Myers to consider reentry into society after prison in the NY Premiere of JACK &. Context is everything, so get even closer to the production with this curated selection of related articles, videos, podcasts, and more. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
Friday, October 12, 2018
Share your thoughts on love, water, nature, and loss
Phantom Limb Company
This November, BAM presents Phantom Limb’s new production Falling Out, a theatrical exploration of love, loss, and healing in response to the 2011 tsunami and Fukushima nuclear disaster. The company is inviting you to participate in the creation of this work, by recording a message in response to the prompts below. Read on for more details, then call (646) 535-7528 to participate.
This November, BAM presents Phantom Limb’s new production Falling Out, a theatrical exploration of love, loss, and healing in response to the 2011 tsunami and Fukushima nuclear disaster. The company is inviting you to participate in the creation of this work, by recording a message in response to the prompts below. Read on for more details, then call (646) 535-7528 to participate.
Tuesday, October 9, 2018
Insider Perspectives on Watermill
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Photo by Jerome Robbins |
Jerome Robbins’ Watermill, at the BAM Fisher from Oct 24 to 27, is reimagined in a new, site-specific production by choreographer Luca Veggetti. When the hour-long, Noh-inspired dance premiered at New York City Ballet in 1972, it elicited wide-ranging audience reactions. Here, three people provide fascinating insights on varying aspects of Watermill: Veggetti, about the 2018 iteration and how it differs from the original; Hiie Saumaa, a scholar, on insights from the rich trove of Jerome Robbins’ meticulous journals, specifically sections on Watermill; and lead role originator Edward Villella, on working with Robbins on the creation of the piece. —Susan Yung
Labels:
2018 Next Wave Festival,
dance,
Jerome Robbins,
Watermill
Monday, October 8, 2018
In Context: Place
Labels:
2018 Next Wave Festival,
music,
Place,
Saul Williams,
Ted Hearne,
theater
Friday, October 5, 2018
Beyond the Canon: Body and Soul + The Night of the Hunter
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Paul Robeson in Body and Soul (1925) and Robert Mitchum in The Night of the Hunter (1955), photos courtesy of Kino Lorber/Park Circus |
By Ashley Clark
Wednesday, October 3, 2018
In Context: Alice Coltrane
Celebrate the sublime musical and spiritual legacy of Alice Coltrane Turiyasangitananda in this special one-night engagement led by Surya Botofasina and the Sai Anantam Ashram Singers. Context is everything, so get even closer to the production with this curated selection of related articles, videos, podcasts, and more. After you’ve attended the show, let us know what you thought by posting in the comments below and on social media using #BAMNextWave.
Performing Place
By David Hsieh
I am lying in bed with him / He is asleep / I am lying in bed with him, my son / He is breathing regularly
I am staring at his birthday balloons / They have lost their lift / He is five years old / They lightly graze the ceiling
Stuck and strung up / Not knowing where I will live
My son / Does he know where I end and he begins?
Listen to this excerpt
Ted Hearne’s new vocal work Place starts with these intimate, gentle, almost painful words. It is a father owning up to his responsibility to his son. For this 36-year-old composer, one of the best-regarded of his generation and a Pulitzer Prize finalist, Place is a questioning, a reckoning, and an inward look at his proper “place” as a father, as an evolving artist whose past interests often centered on national issues (Katrina Ballad, The Source, Sound from the Bench), as a highly educated middle class moving into a gentrified neighborhood, and as a white man living in a country that is finally coming to terms with that privilege. It is certainly his most personal work to date, of which BAM is honored to give the world premiere on Oct 11 (it continues until Oct 13 in the Harvey Theater). The work is scored for six singers and 18 musicians; many of them come from non-classical backgrounds, as the diverse music requires. Two of them, Josephine Lee and Steven Bradshaw, share their experience of working on this brand-new work.
I am lying in bed with him / He is asleep / I am lying in bed with him, my son / He is breathing regularly
I am staring at his birthday balloons / They have lost their lift / He is five years old / They lightly graze the ceiling
Stuck and strung up / Not knowing where I will live
My son / Does he know where I end and he begins?
Listen to this excerpt
Ted Hearne’s new vocal work Place starts with these intimate, gentle, almost painful words. It is a father owning up to his responsibility to his son. For this 36-year-old composer, one of the best-regarded of his generation and a Pulitzer Prize finalist, Place is a questioning, a reckoning, and an inward look at his proper “place” as a father, as an evolving artist whose past interests often centered on national issues (Katrina Ballad, The Source, Sound from the Bench), as a highly educated middle class moving into a gentrified neighborhood, and as a white man living in a country that is finally coming to terms with that privilege. It is certainly his most personal work to date, of which BAM is honored to give the world premiere on Oct 11 (it continues until Oct 13 in the Harvey Theater). The work is scored for six singers and 18 musicians; many of them come from non-classical backgrounds, as the diverse music requires. Two of them, Josephine Lee and Steven Bradshaw, share their experience of working on this brand-new work.
Labels:
2018 Next Wave Festival,
music,
Place,
Ted Hearne,
theater
Tuesday, October 2, 2018
In Context: Trisha Brown Dance Company
Monday, October 1, 2018
There's 30something about Mary Reilly
By David Hsieh
“For three decades, Mary Reilly has been BAM’s secret weapon. Working shoulder to shoulder with her is a pleasure as she creatively, imaginatively, and perceptively structures support mechanisms for the artists that I have curated for our main stages and ancillary programs. A vast range of sensitivities balanced by the most joyous humanity guarantees that each individual artist feels tremendous support before and during their work here and as they depart for home or other professional obligations. We are a respected cultural institution because of Mary’s professional contribution.” —Joseph V. Melillo, Executive Producer of BAM
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(From left) Joseph V. Melillo, Mary Reilly, and Pina Bausch in 2001 for Masurca Fogo |
“For three decades, Mary Reilly has been BAM’s secret weapon. Working shoulder to shoulder with her is a pleasure as she creatively, imaginatively, and perceptively structures support mechanisms for the artists that I have curated for our main stages and ancillary programs. A vast range of sensitivities balanced by the most joyous humanity guarantees that each individual artist feels tremendous support before and during their work here and as they depart for home or other professional obligations. We are a respected cultural institution because of Mary’s professional contribution.” —Joseph V. Melillo, Executive Producer of BAM
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