"Performance art is unpredictable and ephemeral, which makes it entirely an experience and a kind of art that falls flat when reproduced on Instagram stories or social PR strategies. The truth is, entering the space for performance art is daring; it’s consensual to receiving, witnessing, and participating in an experience impossible to experience once more. The experience could be anything.
The last two performances of Navarasa Dance Theatre's Encounter will fly by before you know it, so quick! Read this review, and then hurry on over to the Cultch's website and grab tickets! You can thank us later.
Dear SAD readers/listeners, we have another mix for you! Kari Kristensen's work occupies the mind for hours on end, if you stare deep enough. Hopefully these songs compliment that dreamscape well.
“My years of writing school and traditional ideas about theatre come barging in; when is the performance going to start? When will the curtains draw and the acting begin? I soon realize that this isn’t a red velvet curtain masquerade. I’m not here to see a re-enactment, neither am I here to witness a reproduction of memories. I’m here to see how Tetsuro interprets, responds to, and shares [a] fascinating life... in real time.”
VIFF, you've nearly come and gone. We still have a few more days of bliss! As it turns out, festival season is busy (didn't you know?), and so we're very lucky to have writers who dedicate their spare time to reflecting on great cinema. Here's a reflection on Yorgos Lanthimos' latest feature, The Killing of a Sacred Deer.
"Some of the rushed quality in the work actually takes a long time to get right! It’s hard work to sound as stupid as I do. I’ve always liked imperfect poems, or poems that are intentionally inelegant and awkward in rhythm, because to me that’s more exciting than a beautiful thought succinctly expressed. If you refine something too much, I think it loses some of its naked horse death energy, which is what I love poetry for. That’s one of the reasons Emily Dickinson is so great, because there’s something uniquely off about her work. I also am interested in unfunny jokes that go on for too long, which is something I stole from Stewart Lee.
Kari Kristensen came to Vancouver from Ontario for vacation and—lived the story we all hear occasionally—never left.
I was drawn to the western for a few reasons. One: it’s a genre that very often seems to represent Indigenous peoples in problematic, stereotypical ways. Two: there are thousands of western novels that are now in the public domain, but it is also a genre that is still very much alive today. Three: many North Americans have a deep and troubling nostalgia for the genre (which is also often intertwined with a kind of romanticizing of colonization that could also been seen as a romanticizing of Indigenous genocide).
The saltwater and terrain of Bowen Island is where I’ve been most successful in writing poetry/prose. As an artist, I feel most grounded and inspired by the complexity of Japan, and when I’m in Singapore, I’m grounded in the sense that I’ve eaten too much food and can’t move.
I believe that my characters have a longing to a home they once had; an innocent, heartfelt home that meant the world to them, and that they idealized in their own imagination to the point that it’s impossible to be true. Syria is this ideal loving place that once existed before the world became harsh, and rather rude, to their borderline naïve view of life. By being together, they kept that impossible place alive inside of their collective narrative, and now that they’re facing the reality of their departure from one another; they’re clinging to the details of that memory they had.
Our second and final batch of Fringe 2017 reviews is here, and it's ready for you to read on! A little bit serious, a little bit funny—Fringe has always been a well-rounded theatrical experience, and we cherish it for that.
Hello and goodbye, Fringe Fest 2017. Oh, how we wish we could have experience you twice over! But alas, time moves so quickly and festivals must eventually end. At least we have a few reviews as re-cap! First up, a duo of one man shows (paradoxical, I know). Enjoy!
September has been moving steadily along! We think this month calls for fresh inspiration and renewal. Who better than featured artist Sandeep Johal to guide us? Take a listen to the latest mixed playlist, galvanized by her work!
The Disposable Camera Project is back! We gave disposable cameras to some of our favourite artists in the city, and we’ll be sharing the best photos at the Remington Gallery & Studio on September 22.
“Resonating throughout each character is the connecting theme that they are all victims of circumstance. Each character is driven by incidents which both haunt and inspire them. The complexity of their dynamics and dark intentions leave you conflicted about what you hope happens for the story’s resolution.” Catch Bombay Black, written by Anosh Irani and directed by Rohit Chokhani, at this year's Fringe Festival!
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