Inside PAJ 120

• Featured Articles 

  • Joseph Cermatori, Reza Abdoh Today: Posthumous Reflections Fifty-Five Years after His Birth

  • Reza Abdoh in conversation with Gautam Dasgupta, Theatre Beyond Space and Time

  • Isaiah Matthew Wooden, Adrian Piper, Then and Again

  • Laurie Anderson in conversation with Bonnie Marranca, Laurie Anderson: Telling Stories in Virtual Reality

• Art & Performance Notes

  • Meredith Mowder, Does What Happened in the Club, Stay in the Club?

  • Mara Valderrama, The Thunder Inside

  • Kelly I. Aliano, A Conquest for the Twenty-first Century

• Articles

  • Aleks Sierz, British Theatre after Brexit: One Year On

  • Paul David Young, Forgetting History: Report from Berlin/Theatertreffen 2018

  • Elena Bellina, Theatre and Gender Performance: WWII Italian POW Camps in East Africa

• Play

  • Ania Aizman, War in Everyday Life in Russia

  • Mikhail Durnenkov, Are We at War Yet?

• Books & Company

  • Warren Kluber, Theatres of War

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Inside PAJ 119

• Dan Venning, Richard III in the Era of Trump

• Paul David Young, Hillbilly Tragedy: What's Not Playing in American Theatres in the 2017-18 Season

• Kay Larson, Empty Duration and the Generosity of John Cage

• Edmund B. Lingan, The Occult Art of L'ordre de la Rose+Croix du Temple et du Graal: Sâr Joséphin Péladan's R+C Salons, 1892-1897

• Split Britches, Ruff

• Dance and Drawing

  • Bonnie Marranca, Thinking/Drawing/Dancing

  • Annie-B Parson, Stuff

  • Walter Dundervill, Drawing Clarification

  • Gwen Welliver, Self-Portraiture/Self-Prompt

  • Jan Rae, Drawing the Language of Dance

  • Cathy Weis, What's My Line

  • Okwui Okpokwasilli and Peter Born, Process Notation

  • Elizabeth Streb, The Methodology for Choreographing Extreme Action

  • Laurent Goldring, The Dancer and the Computer, Part Two

  • Jon Kinzel, Movement Engineer

  • Virgilio Sieni, Atlas of the Gesture

• Reviews of The Exterminating Angel (Thomas Ades); Burning Doors (Belarus Free Theatre); CODED (Xaviera Simmons)

• Books reviewed on performance; Reconsidering Archives in Performance; Black Performance on the Outskirts of the Left; Performance Art in Eastern Europe since 1960; Microdramas

Inside PAJ 118

• Bonnie Marranca, Writing at the Edge of Time editorial

• Sam Shepard, Experimental Theatre Then and Now

• Anne Bogart, Copy, Transform, Combine

• Sophie Landres, The First Non-Human Action Artist: Charlotte Moorman and Nam June Paik in Robot Opera

• David Rothenberg, Spider Music

• Bonnie Marranca, Afternoon at the Villa Panza

• Richard Sandler, The Eyes of the City

• Michael Maizels, Gendered Bodies: Bruce Nauman Meets Meredith Monk

• Isaiah Matthew Wooden, Jefferson Pinder and the Art of Black Endurance

• Piet Defraeye, Philosophical Tales

• Pieter De Buysser The Last Tragedy

• Reviews of Manual Cinema (BAM); Blank Out (Armory); Headlong Dance Theatre (Philadelphia)

• Books reviewed on media and performance; Trisha Brown; Imagined theatres
  

Inside PAJ 117

• Yvonne Rainer, A Truncated History of the Universe for Dummies

• Philip Auslander, Film Acting and Performance Capture

• Agustin Schang, 537 Broadway: Performance and Buildings

• Etel Adnan, At A Certain Hour of the Night

• Lee Breuer, Red Beads

• Joseph Cermatori, Robert Lepage in Double Time

• Sahar Assaf, Political Theatre Between Wars

Inside PAJ 116

• Steven Holl, Portfolio: Music and Architecture

• Anne Carson's STACKS | Jonah Bokaer, About Stacking

• Bonnie Marranca, The Imagination of Catastrophe: Caryl Churchill's Natural History Lessons

• Kenneth King, On the Cusp of Superstars: Andy Warhol's Silver Factory as Underground

• Andrea Kleine, I Long for Something Wild

• Emily Coates, The Poetics of Physics in Dance

• Ellen Pearlman, Brain Opera

• Theatre and book reviews
  

Inside PAJ 115

• Bonnie Marranca, The Artist in the World

• Aleks Sierz, Dark Times: British Theatre After Brexit

• John Jesurun interview with Christophe Collard

• Michael Maizels, "Steve Reich, Richard Serra, and the Discovery of Process"

• Kelly Aliano on Taylor Mac

• Elfriede Jelinek, Shadow.Eurydice Says. Gitta Honegger, trans., on Jelinek

• Brooke Carlson on performance/drawing

• Janet Werther on the Ballez company's Sleeping Beauty & the Beast

• Joseph Cermatori on Arvo Part/Robert Wilson Adam's Passion

• Anja Foerschner on Belgrade artist Marta Jovanović
  

Inside PAJ 114

• Bonnie Marranca, "Life and Death Matters"

• James M. Harding, spiritual vanguardism

• Johannes Birringer, Alexander McQueen fashion

• Andrea Kleine on DD Dorvillier

• Michal Kobialka, Tadeusz Kantor centenary

• Wendy Perron on Simone Forti

• Aleister Crowley's play The Savior

• Manuel Cirauqui, sound and the trace
  

Inside PAJ 113

• Francesco Spampinato, "Body Surrogates: Mannequins, Life-Size Dolls, and Avatars"

• William Kentridge, Lulu Drawings

• Linda Montano, Dad Art

• Gianina Cărbunariu play, Mihaela, the Tiger of Our Town

• George Hunka, books on Brecht

• Adam Weinert, The Reaccession of Ted Shawn

• Annie-B. Parson, David Bowie

• Interview with Vaginal Davis

Inside PAJ 112

• Bonnie Marranca, "Present Tense"

• Richard Maxwell Play - Isolde

• Carol Becker on Utopia

• Douglas Dunn on Shame

• Eric Bentley, "Writing For a Political Theatre"

• Tom Walker, Living Theatre Memoir

• Oana Cajal, "Posters For Unwritten Plays"

• Book Reviews and Festival Reports

Inside PAJ 111

• Michael Maizels and Jenny Johnson "Cardiovascular Chopin"

• Special Section: Water and Performance edited by visual artist Daniel Rothbart, featuring work by Lisa Park, Peter Fend, Klaus Daven, and the artist

• (A)pollonia: Twenty-First-Century Polish Drama and texts for the Stage reviewed by Krystyna Lipińska Illakowicz

• Doing Nothing / Nothin' Doin'!: Revisiting a Minimalist Approach to Performance Yvonne Rainer

Inside PAJ 110

• Paisid Aramphongphan "Andy Warhol, Fred Herko, and Dance"

• Urban Dramaturgies

• Neil Harbisson and Moon Ribas, Hyphen Hub at The Red Door, New York City Ellen Pearman

• Soviet Mass Spectacles and the Paris Commune Daniel C. Gerould
  

Inside PAJ 109

• Cathryn Dwyre and Chris Perry
  "Expanded Fields: Architecture/Landscape/Performance"

• Ten design portfolios featuring installations, robotics, ecological projects and immersive spaces

• Interview with Bernard Tschumi

• Sun Farm: Body, Self, Universe Daniela Bertol, Performance in the Age of Neoliberalism George Hunka, The Dictator Issam Mahfouz
  

Inside PAJ 108

• Manuel Ciraqui “The Room Trick: Sound as Site”

• Roundtable for the 2013-14 theatre season, with Joseph Cermatori, Miriam Felton-Dansky, Ryan Anthony Hatch

• Kenneth King writes on his early years at Warhol’s Factory

• Alexandra Ripp’s commentary on Chilean Theatre in 2013

• Robert Ashley’s Pillars

Inside PAJ 107 — Performance Drawing available on Kindle

• Tony Orrico, Jonah Bokaer, Caroline Bergvall, Romeo Castellucci, George Quasha, Clifford Owens, Carolee Schneemann, Warren Neidich, and others — 17 portfolios featuring a text and drawings by each artist

• Interview with Joan Jonas, U.S. artist in 2015 Venice Biennale

• Graphis scores by Dick Higgins

PAJ 100 — Performance New York available on Kindle 
Listen to podcasts here and read the editorial here

Several generations of artists, curators, critics, and presenters–a who's who of downtown performance–respond to the main themes of the issue: Belief, Being Contemporary, Performance and Science, Writing and Performance. Also includes artist portfolios by Laurie Anderson, John Kelly, Julie Mehretu, Ralph Lemon, and Brian Dewan. Three group dialogues on curating, producing, and working.
 

This new and expanded edition of Fefu and Her Friends celebrates the 40th anniversary of the beloved play by Maria Irene Fornes, one of the most influential American playwrights. The volume includes the original version of the play, which takes play in five different environments, as well as a one-set variation, conceived and directed by the author two decades after the 1977 premiere. Also featured is an interview with Fornes by Bonnie Marranca.

In a production directed by the author, Fefu and Her Friend opened in 1977 at the Relativity Media Lab in downtown Manhattan, and then moved to the American Place Theatre, where it ran from January 8-February 5, 1978. The cast features eight distinctive women's roles. Fornes always intended the play to be available for more productions by theatres that did not have the facilities for multiple environments.

Maria Irene Fornes turned 87 years old on May 14, 2017. Due to illness she has withdrawn from public life.

A new documentary on the author, entitled
The Rest I Make Up, directed by
Michelle Memran, is nearing completion. 

"The Fornes oeuvre is one of American drama's most important achievements." - Tony Kushner

Now Available at TCG.

ISBN: 9781555541637     88 pages        $16.95

Other PAJ Publications titles of the author's plays include Maria Irene Fornes: Plays, Promenade and Other Plays, What of the Night?: Selected Plays, and Letters from Cuba.

Seventy artists engaged in art as performance say what art is in these intimate portraits, accompanied by single-frame images. Artists in the volume include Marina Abramović, Carolee Schneemann, Robert Wilson, Laurie Anderson, Jonah Bokaer, Robert Ashley, Pauline Oliveros,Thurston Moore, Gary Hill, Vito Acconci, Archie Shepp, Joan Jonas, Anthony Braxton, Ann Hamilton, Yayoi Kusama, Joy Mboya, Caroline Bergvall, and many more. 

One of the hotly discussed issues of today is the turn by visual artists to theatre. Many artists have become interested in the collaborative processes of theatre, auditions and rehearsals, dramatic texts, and the use of professional actors. newARTtheatre by Paul David Young explores the important strategies that artists are using in performance, painting, video, sculpture, photography, installation, and conceptual projects.

Click Here for the Brooklyn Rail's Review

Conversations with Meredith Monk presents a richly detailed portrait of the internationally renowned composer, performer, direction, and filmmaker who has helped to create the new vocabularies of contemporary performance. Reflecting on her body of work in music, performance, and film over five decades, Monk offers fascinating insights into how she works, the questions she asks herself as an artist, and the deeply held personal views of art practice as spiritual practice fundamental to her artistic process.