Henley: Cam, was Delia’s production the only one you’ve dramaturged or worked on?
Magee: I’ve played Kate, a bunch of times, full productions and in schools for the Folger. The full production was with Michael Tolaydo (and I did one in college), but I was very lucky with my director [Tolaydo] in that he didn’t put any politics in our Shrew. And he also let me play her as someone who had never been touched.
Walker: That’s fascinating.
Magee: So the kiss in the street, when she offers him the kiss in the street, she had no idea how to kiss. But if you quote me on anything, I want you to quote me on this, because this is what I believe after all these years with Shrew: I don’t think that Shrew needs to be redeemed. I think Shrew needs to stop being politicized. Because I don’t think it can hold it. And I think that’s why Ally’s play and Jonelle’s play are important. Because they can hold those big ideas. I don’t think Shrew can. It’s not really about that. It’s flimsy. It’s fluff.
Currin: And can I say something? I love Shrew, I do, but it’s not that good. In the canon, it’s not that good. There’s so much that doesn’t hold water in it. And in our contemporary minds, we pour so much of our perspective onto this poor little text that was not intended to do what we are trying to do to it.
on-my-own-little-planet said: uh so fun fact i was at the opening of Lazarus, at New York Theatre Workshop. it’s pretty avant-garde, so you should go in expecting that. I wasn’t and got a pretty big surprise, and i think the rest of the audience did too
TBH if you went into a David Bowie musical not expecting avant-garde I’m not really sure what to tell you
Los Angeles’ Karmic alights upon my radar with a magnificent avant-garde pop song named Higher Self. A whimsical bassline, zestful clattering percussion, and playful teasing vocals reel me into this peppy dream of an indie earworm. The light and weightless, snappy and agile tune evokes a fusion of Sylvan Esso, Banoffee, and Alex Winston, alongside an ephemeral dash of Foals like dance punk guitar. Higher Self’s music video is just as popping of an 80′s inspired treat. Purchase Higher Self as a single from major services, here.
nothing to paint anymore.
We’ve seen everything from the classical to the absurd.
There’s nothing to write anymore.
As many books are shredded as read.
There’s nothing to sing anymore.
The once avant-garde is now background music.
In a world
where expression seems futile, it is hard to maintain creativity. But
creativity is a primal impulse. Cave people painted on walls; everyone’s house
has some image on display. Primitive scribes wrote records of their
experiences; people still keep diaries. Early shamans sang; we still live with
music. We cannot abandon creative expression in our daily lives, though it
seems hard to come up with something new.
way to have fresh expression is to go deep within. In a sense, today’s extreme
pluralism eliminates the obligation to do the same as others. At one time,
artists, priests, writers, musicians, and craftsmen were obligated to their
feudal lords. Today we are not constrained by hierarchical standards. We are
free to commune directly with our inner callings.
coincidence, this mirrors a more sophisticated understanding of the divine. We
are no longer in a position of supplication with what is divine. Rather,
divinity is a quality from within ourselves.
Planned in anticipation of the centennial year of the 1917 Russian Revolution, this exhibition brings together 260 major works from our collection, tracing the period of artistic innovation between 1912 and 1935, and highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant-garde poetry, theater, photography, and film.
[El Lissitzky. Proun 19D.1920 or 1921. Gesso, oil, varnish, crayon, colored papers, sandpaper, graph paper, cardboard, metallic paint, and metal foil on plywood. The Museum of Modern Art, New York. Katherine S. Dreier Bequest]