Show Category: Performance

 
With Joy Norton, Amanda Wallace, Kate Williams, Maxi Hawkeye Canion, and Reed Rushes.
Original music by ADR (Aaron David Ross) and including music by Eartheater.
 
In all things under dog, where two things are always true, Monica Mirabile looks at the ‘mafia’ as an outlaw ecosystem rising from a lack of resources to cultivate a support structure. Working on a therapeutic level within this architecture, Mirabile builds out a collapsing of time from the combined personal histories of the performers and herself—working through questions of grief, trauma, support, and ultimately resilience in family systems and the society they are influenced by. all things under dog travels through symbolic representations of a house—with five distinct rooms dividing The Keith Haring Theatre—and a black hole. Heightening the intimacy of the work, the audience, viewing the piece in small groups, move through the rooms with the performance.
 
Mirabile seeks to bring the “often healing, life-affirmation that happens for the performers in rehearsal” to the performance. In this way, all things under dog, where two things are always true exists along the continuum of the work the artist has been doing at Performance Space, including leading Open Movement, and her participation as a cohort member of 02020.
 

 
*This is a durational performance, with intermissions for meals and rest. All ticket-holders will also have access to a live stream. You will receive an email shortly before the event containing a live stream link and program.
 

In her 24-hour durational performance DIVINE JUSTICE, the poet, playwright, and astrologer, Ariana Reines has investigated the myths and scholarship around Medea, in order to stage a different kind of courtroom, one designed to mirror the inviolable and fundamentally uncriminal space inside each human being, no matter how vicious, no matter how abused. Disillusioned by failures of the American justice system, the artist asks what would happen if the planet Venus actually structured the American Judiciary, as it presides over Justice in the Zodiac. How would a justice system that truly answers to Venus, a planet of love and good fortune, be structured, how would wrongdoing be corrected, how would damage be addressed, how would victims be made whole? In DIVINE JUSTICE, Reines collapses trial and sentence, judge and jury, into light and sound– a single summer day of Venus tested, and time served.

 
*Content Notice
Please be advised, this event is structured around the Medea myth and contemporary events, and contains candid talk about sex, sexual violence, and gender. It is intended for an adult audience.
 

 
With Geo Wyeth, Bully Fae Collins, Cornelius (fka Mica Sigourney), and Dia Dear
 
Tip the Ivy is the latest multidisciplinary opera by Colin Self. In keeping with the artist’s previous works, it foregrounds its own making as a collaborative group process. Originating from a manuscript, the work mutates through collective authorship by the five collaborators and at points even extends to the public joining XOIR, Self’s experimental methodology for group singing. Tip the Ivy relies on Polari – an underground, queer language created in the UK at a time in which homosexuality was punishable by law. The encrypted language embraces illegibility and opacity as unique forms of queer creativity, community, and survival. The opera echoes an aesthetic embodied by the story of travesti performer Vera De Vienne, who has performed in Europe for the last 50 years as a gender illusionist. Equal parts cacophony and symphony, call and response, catharsis and rehearsal Tip the Ivy’s energy is both deviant and joyful.
 

Watching Storyboard P dance feels like glimpsing into another world. His dancing reminds us that our conventional understandings of what a human body is, what it can do, and where it starts and ends, are insufficient. As an acclaimed street dancer Storyboard’s lineage is Flex, but as an artist he might be more of an Afrofuturist. Using an otherworldly combination of skill, beauty, poetry, and emotion his dancing collapses space and time into an alternative universe.

When Storyboard talks about dance, he becomes a visionary poet—speech is a vessel for body language, dance a way to speak without speaking, a slang of movement that can carry vibrations like the animation of a stop motion film. “My style is Mutant. As a mutant my power is to project a sequence of images through my body that tells an elaborate story to music. The power to storyboard / ballet / jazz / African / contemporary / bruk up / flex / boogaloo.”

 
“For an entire generation of queer artists working in the experimental theater world—including me—Tim Miller led the way. His imagination, daring and vision continue to inspire us.”—Moisés Kaufman, author of The Laramie Project
 
Climb along with performer Tim Miller inside the giant O of the Hollywood sign – or as Shakespeare conjured it “the wooden O” of all theatre and performance–where we try to take on the big themes of our time. Miller performs a new work created from his brand new book of performances and stories A BODY IN THE O. 40 years on from when Tim Miller co-founded Performance Space 122 and was then co-director for the first three years of Performance Space, Miller now returns to a most crucial performance “O” of Performance Space New York!
 
Jumping off from a day in 1984 when Miller scrambled up inside of the O of the Hollywood sign and imagined the performance space tree house of his dreams (Performance Space New York and Highways Performance Space in L.A.), A BODY IN THE O journeys through the hoops of the Department of Homeland Security, a queer boy’s truth-telling, a performance at Performance Space 122 in 1980 and finally a wedding day in NYC in 2013 as Miller imagines the full possibility of performance that changes the world inside these wooden Os!