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Archive for the ‘Festival’ Category

Happy Hour on the Fringe with Meg Foley

Posted September 9th, 2018

FringeArts signature podcast returns with the a new episode in a series of enthralling Festival-related shows.

The undergird. Photo by Tasha Doremus.

Hosts Zach and Raina sit down with performer, choreographer, educator, and double libra with a moon in pisces, Meg Foley. They discuss Meg’s Fringe Festival show the undergird, how identity shapes Meg’s work, and, just between us, breaking the space-time continuum.

Her 2018 Fringe Festival piece, The undergird opens at Icebox Project Space on September 13 and runs through September 16.

Listen now to the the wide-ranging conversation about the show and Meg’s signature performance technique.

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Location, Location, Location: Panorama Philly

Posted September 8th, 2018

Location: Panorama Philly

Neighborhood: Southwest Philly

Description: A converted warehouse space, Panorama Philly (not to be confused with the Old City restaurant) offers a stripped down 2,100-square-foot theater and rehearsal space, easily accommodating over 100 patrons. For the 2018 Fringe Festival, the space has become something of a Fringe hub, with five shows sharing the space and presenting successive shows on many days.

Year built: 1930

2018 Fringe shows: Literary Creatures (“spontaneous bursts of sound, poetry, and movement encouraging the audience to explore playfulness as vulnerability”), All 100 Fires (“At a guerrilla base camp, a retired clockmaker weighs who needs to be purged from the ranks”), NIGHTMARE FUEL (“dark and demented…. what the Fringe is all about.” The Wee Review), Pestilence: WOW! (“Part reality television, part psychedelic fever dream, this is a play about humans and the way we deal with real, actual tragedy: totally inadequately, and like assholes.”), The Presented (“a fun and hilarious 50-minute show that will make you never want to pursue a career in the arts ever again”).

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Brett Mapp has a Fringe Schedule to Envy

Posted September 5th, 2018

Performances for the 2018 Fringe Festival have already begun, and the Festival officially kicks off tomorrow! Thus begins three weeks of awesome performances: so many it’s difficult to decide what to see! It might seem overwhelming to fit all these amazing shows into just a few weeks, but thankfully there’s hope. Fringe Festival veteran, Old City District director of operations, general man about town, and self-described “hardcore Fringer” Brett Mapp has been kind enough to share his 2018 Fringe Festival schedule with us. If you’re looking for some guidance on what to see and how to fit it all together, it can’t hurt to start here:

Kill Move Paradise

9/6
Eccentricites of a Nightingale

9/7
Kill Move Paradise

9/8
Le Super Grand Continental (4pm)
The Accountant (8pm)

9/9
Lay Me Down Softly (2:30pm)
Stifters Dinge (6pm)

9/10
Fly Eagles Fly

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International Fringe 2018: A Welcome to Artists from Around the World

Posted September 2nd, 2018

The United States government may be pursuing an isolationist policy but the Philadelphia Fringe is doing the opposite: opening its doors not only to the most creative American performers and performances but also to the best and most creative theater artists and their productions from around the world—overcoming the ancient fear of the symbolic Tower of Babel with people not understanding each other.

To show the worldwide scope of the 22nd Philadelphia Fringe Festival, we offer this spotlight on performers from abroad and productions by American artists that present a global perspective.

Theater writer Henrik Eger, editor of Drama Around the Globe and contributor to Phindie and Broad Street Review, among other publications, has lived in six countries on three continents and has visited Africa and Australia as well. He bids everyone a hearty WELCOME to the City of Brotherly Love—this year in 18 different languages: Arabic, Celtic, Chinese, English, Esperanto, Estonian, Farsi, French, German, Greek, Hebrew, Hindi, Irish, Italian, Latin, Polish, Romanian, and Spanish.

We start this year’s overview with a special welcome to two programs featuring a wide range of global creators:

INTERNATIONAL CREATIVES

  1. le super grandBienvenue & welcome to Montreal-based choreographer Sylvain Émard and Le Super Grand ContinentalLe Grand Continental wowed audiences during its run at the 2012 Fringe Festival and has garnered enthusiastic response across the world. Fully realizing a blissful marriage between the pure delight of line dancing and the fluidity and expressiveness of contemporary dance, the celebratory event enlists hundreds of local people to perform its synchronized choreography in large-scale public performances. The world’s most infectious performance event returns to the front steps of the Philadelphia Museum of Art in an even larger spectacle of dance.

More info and tickets here

  1. Bonvenon, willkommen, bienvenido, witamy, bienvenue & welcome to Do You Want A Cookie? from The Bearded Ladies Cabaret—a world premiere with an international cast. Do You Want A Cookie? serves up a delicious romp through cabaret history, with an international cast of artists performing a live revue of cabaret from the Chat Noir to Weimar nightlife to 21st-century drag. The all-star cast comes draws from around the world, including Bridge Markland (Berlin), Malgorzata Kasprzycka (Paris/Warsaw), Dieter Rita Scholl (Berlin), and Tareke Ortiz (Mexico City).

More info and tickets here

REFUGEES and EXILES

  1. ear whispered

    As Far As My Fingertips Take Me. Photo by

    وسهلا اهلا (ahlaan wasahlan) & bienvenu. Welcome to Tania El Khoury who lives in Lebanon and the UK with her multifaceted program ear-whispered. Little is known about Palestinian refugee camps and their communities. El Khoury presents her Fringe work in five parts through interactive performances and installations at Bryn Mawr College:

    1. Gardens Speak, an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. (Bryn Mawr College.) Read more.
    2. Camp Pause, a video installation that tells the stories of four residents of the Rashidieh Refugee Camp on the coast of Lebanon. (Bryn Mawr College.) Read more.
    3. As Far As My Fingertips Take Me, an encounter through a gallery wall between a single audience member and a refugee. (Old City & Bryn Mawr College.) Read more.  
    4. Stories of Refuge, an immersive video installation that invites audiences to lay down on metal bunk beds and watch videos shot by Syrian asylum seekers in Munich, Germany. (Old City.) Read more.
    5. Tell Me What I Can Do, a newly commissioned work featuring letters that audiences have written in response to Gardens Speak. (Bryn Mawr College.) Read more.

More info and tickets here

  1. Bienvenido & welcome to the bilingual (Spanish & English) cast of La Fábrica performing Gustave Ott’s Passport. Lost in a foreign country, Eugenia is detained and thrown into a vicious maelstrom of miscommunication. This poetic and immersive Kafkaesque thriller delves into the question of immigration—exposing the mechanics of language and power. Some performances will be presented in English, some in Spanish, and some will be decided at the toss of a coin.

More info and tickets here

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2018 Festival Spotlight: LGBTQ+ Shows

Posted August 31st, 2018

Fringe is here! Fringe is queer!

Don’t miss this shows touch upon the issues and experiences of the LGBTQ+ community  

David’s Friend
Nora Burns
“A feisty and funny one-woman show” (New York Times), David’s Friend is the story of a crazy friendship in 1980s New York City. It’s a comic odyssey about cruising, disco, drag queens, strippers, sex, love, loss, and AIDS, told with videos, costumes, characters, and music that moves your feet to a disco beat.
More info and tickets here

Dead Flowers Circus Sideshow
Dead Flowers Circus Sideshow
A demonic clown host! Omnisexual burlesque! Heavy metal standup! Extreme acts of Sadomasochism! An authentic Arabian dance! Some Rock & Roll! 
Avant-garde performance ensemble Dead Flowers Circus Sideshow presents a veritable filth olympics. Mind and gender-bending spectacle, entertainment guaranteed.
More info and tickets here

want a cookieDo You Want A Cookie?
The Bearded Ladies Cabaret
Philadelphia’s Bearded Ladies Cabaret has some treats for you. Do You Want A Cookie? transforms an old factory to concoct the perfect cabaret confections to satisfy your cravings. Part Great Cabaret Bake-Off, part irreverent romp through cabaret history, the show is at once subversive, joyous, provocative, and communal.
More info and tickets here

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2018 Festival Spotlight: FREE Fringe (part two)

Posted August 30th, 2018

You can Fringe! Everyone can Fringe. In addition to our full slate of free digital offerings, this year’s Festival features nearly twenty shows—curated and independently produced—that are free or pay what you want, leaving the door to contemporary performance art open to all. We previewed a batch of these shows yesterday. Here are some more!

Le Super Grand Continental
Sylvain Émard
The world’s most infectious performance event returns to the famous steps of the Philadelphia Museum of Art for an even larger spectacle of dance. Fully realizing a blissful marriage between the pure delight of line dancing and the fluidity and expressiveness of contemporary dance, the celebratory event enlists hundreds of local people to perform its synchronized choreography in large-scale public performances.
More info and tickets here

Love Stories
Denise McCormack
Master storyteller Denise McCormack brings to life literary and traditional tales to capture the essence of women’s issues and issues of the heart. This one-woman stand-up sparks a flood of emotions and memories, as it revisits secret and soulful nuances of motherhood, childhood, family, and life—the dynamics of love. Intended for adults.
More info and tickets here

One Hundred Abstracts
Katharine Goodall
This is an exhibition of paintings displayed in various locations throughout the city. For a list of locations where the paintings are exhibited, please visit katharinegoodall.com.
More info and tickets here

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2018 Festival Spotlight: FREE Fringe (part one)

Posted August 29th, 2018

Art should never be out of reach. In addition to our full slate of free digital offerings, this year’s Festival features nearly twenty shows—curated and independently produced—that are free or pay what you want, leaving the door to contemporary performance art open to all.

This is just a segment of the array of FREE Fringe offerings. See the rest of the list tomorrow.

Airport Opened
Brian Shapiro Presents
Airports are endlessly fascinating places—intersections of almost every imaginable personality with logistical challenges galore. Based upon interviews conducted with airport personnel globally, Airport Opened offers an opportunity to bear witness to an airport’s human side through the perspectives of people who actually work there.
More info and tickets here

An Unofficial, Unauthorized Tour of LOVE Park
Rose Luardo / Kate Banford
An interactive, questions-encouraged tour of LOVE Park with a completely legitimate, highly respected, and 100% real tour company. At each stop on this mind-bending guided walk through the park, facts will be manipulated and reality will melt. Maybe a bush will talk to you? And maybe that bush invented love. Presented by Fairmount Park Conservancy and Philadelphia Parks & Recreation with support from ArtPlace America.
More info and tickets here

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2018 Festival Spotlight: Feminism in the Fringe

Posted August 26th, 2018

In the era of #MeToo and the pink hat brigade, it’s no surprise that feminism and the celebration of women and their stories is a recurring theme of the shows in this year’s Festival. These works use different performance forms to reflect on women, feminism, and the modern world.  

Animation Nation
The Women’s Film Festival
The Women’s Film Festival presents an amazing collection of animated films by, for, or about women. Come get a taste of award-winning short films from local and international artists along with a preview of our nine-day festival in March! Bring an open mind with a dusting of imagination!
More info and tickets here

The F Word
Radiant Bloom Productions
What does feminism mean now? Five women from different backgrounds use music to experience the conviction of the movement for women’s rights. Hear the stories of women who fought for equality, join in the songs they sang. Immerse yourself in the ongoing discussions about who gets a place in this movement.
More info and tickets here

For Colored Girls who have considered suicide when the rainbow is enuf
Kaleidoscope Cultural Arts Collective
For Colored Girls who have considered suicide when the rainbow is enuf, Ntozake Shange’s first work, tells the stories of seven women who have suffered oppression in a racist and sexist society. The choreopoem is an innovative combination of poetry, drama, music, and dance.
More info and tickets here

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2018 Festival Spotlight: Family Friendly Fringe

Posted August 24th, 2018

The Fringe isn’t always adults only! Everyone is welcome at these fun, engaging performances suitable for the whole family.

Chichi Chip (an ode to the Gnarly)
Philly Kerplop
An interactive performance featuring hip-hop dance and a live marching band, taking place in Philly’s iconic LOVE Park. Philly Kerplop’s display of humor and daring physical dexterity will activate the park spaces in ways that feel both familiar and awe-inspiring.
More info and tickets here

FIGMAGO
Meg Saligman Studio
FIGMAGO is part art installation, part room escape, and all parts wonderfully immersive. Enter the mind of a muralist as you explore secret passages and mesmerizing art to discover a mysterious mural that comes to life. YOU become the artist as the story unfolds. Hands-on and phone-free fun for all ages!
More info and tickets here

Garden of Vessels
Sina Marie (I Am a Vessel Youth Initiative)
Welcome to the future of the pop-up garden phenomenon. Imagine a garden where imagination and technology fall in love, cultivating the minds and innate abilities of the youth to a full bloom. Visionary Sina Marie creates an interactive experience. A diaspora from the underground up! We welcome you to…the Garden of Vessels.
More info and tickets here

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Location, Location, Location: The Adrienne

Posted August 19th, 2018

Are you in the market for a Fringe show? Does it have to be close to some good restaurants? Have some great theater? Great amenities? A quality school catchment?

Welcome to our new series of real estate guides to Fringe venues all around Philadelphia.

Location: The Adrienne, 2030 Sansom Street (Center City)

Peg! by Kylie Westerbeck at the Adrienne this Fringe!

2018 Fringe shows: Peg!, Pillow Talk, Real America, powerpoints for my friends, Quidity: Migration Patterns of Imaginary Things, a PRACTICAL DEMONSTRATION (of the EFFECTS of KINESTHETIC OCULAR NEURO-PSYCHOLOGY and its POTENTIAL as an AID in the DISCOVERY of SELF), Almost Pregnant, The Arcane Mysteries of Vanderslice Manor, Close Your Legs, Honey: A New Musical, Drawn Out, FEEL, Only In Your Dreams, Song of My Self-Care, Villain

Description: Located in the heart of Rittenhouse Square area, Philadelphia’s premiere residential and business district, the Adrienne Theater is a charming yet vibrant three-story performance space. With easy access to public transportation, a parking garage across the street, a myriad of dining options in the immediate vicinity, a wealth of cultural organizations, and the PFS Roxy (movie) Theater on the block, the 2000 block of Sansom Street is the destination of choice for local nightlife.

Named for theater professional Adrienne Neye, the Adrienne has been home to dozens of Philadelphia theater companies, some of which (the Wilma Theatre, InterAct Theatre) outgrew the space including, some of which (Venture Theater, Theatre Catalyst) burned bright and went dark. It’s now the leading center for improv in the city, housing the Philly Improv Theater and ComedySportz Philadelphia.

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Festival Guides Have Arrived!

Posted August 3rd, 2018

Are you curious to see what awesome Fringe we have in store for you this year? Are you one of the serious Fringers who treasure the annual Fringe guide, carrying around a marked-up dog-eared copy for the next seven weeks? Are you wondering what the hell a Fringe Festival is anyway? Well your day has ARRIVED!!!

Festival Guides are hot off the presses and will soon be at coffee shops, book stores, and all your favorite pick up points around Philadelphia. (You can always grab one at the FringeArts headquarters at Race and Columbus). But you can get yours before anyone TONIGHT at the 2018 Fringe Festival Guide Launch Happy Hour, 5:30-7pm!

Come to the Haas Biergarten at the FringeArts headquarters (140 N. Columbus Boulevard, at Race), grab a drink (specials 5-7pm), get your Guide, and chill with music and games.

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Return to Semi-Innocence: A Dear Diary LOL Playlist

Posted January 19th, 2018

Oh the early 2000s. What a time to be alive. Y2K was in our rearview mirrors and the freeze dried foods from our techpocalypse bunkers were in our children’s lunch boxes. Wayward boy bands roamed the earth hoping to strike a chord with young audiences, relying only on their good looks, dance moves, digitally-tweaked vocals, and focus-grouped personas. And an upset in the Presidential election had our country more politically polarized than ever before. Thank goodness that’s all over.

HAHA.

…ahem…

Anyway, this month FringeArts presents an encore presentation of AntiGravity Theatre Project‘s 2017 Festival hit Dear Diary LOL. Born verbatim from the real-life tween-teen diaries of middle school girls from the early 2000s, most of whom are in the show’s actual cast, this comedic theatre performance plumbs these once heavily guarded tomes for all the earnest desires, deepest fears, secret shames, and terrible poems that often come part and parcel with coming-of-age.

The concept of the show first came about during a fortuitous trip home for lead artist Francesca Montanile Lyons. At the time she was attending Pig Iron’s Advanced Performance Training School and had recently been tasked with devising a show as a lead artist. Montanile came across her middle school diary and found inspiration—or rather, deep, utter embarrassment—in its content. “Obviously it was the thing I had to bring in front of an audience,” she recently told FringeArts. She soon found that many of her classmates had similar diaries and similarly mortified responses to them in the harsh light of hindsight and from there the project began to grow.

While most of us would be equally aghast at having our own inanimate confidantes unearthed and their contents aired for anyone to hear, the intrepid ensemble of devisers fearlessly bare these texts and explode the material with moments of direct address, music, dance, and physical comedy, colliding the melodramatic musings with the inherent humor found in their earnestness. The result is a light-hearted, intimate glimpse of the ways these young girls come to understand the world around them, form a self, and use their voices as they experiment with their malleable identities and budding adulthood.

Since nothing triggers memory and nostalgia quite like music, Montanile has shared a playlist that embodies the spirit of that period in the ensemble members’ lives, a veritable early aughts megamix. Stream below or over at Spotify, and catch Dear Diary LOL when it returns for a limited engagement, Jan 25-26, here at FringeArts.

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Fragments of Unrest: An Interview with Olivier Tarpaga

Posted October 4th, 2017

Co-founder of the Baker + Tarpaga Dance Project, Olivier Tarpaga is both a choreographer and a musician who brings together disparate nations and identities to create powerful and meaningful performances. Working with his partner, Esther Baker-Tarpaga, the duo have generated a project-centered, transcontinental company that is based in both Philadelphia and Ouagadougou, Burkina Faso. Their work has been noted for its intensity that “proved unforgettable” (Los Angeles Times) and for their projects that “metaphorically and abstractly decenter whiteness” (The Dance Journal). In their newest work, Declassified Memory Fragment, Olivier “declassifies,” or uncovers, experiences that many in Burkina Faso have lived through that are hidden from the world. Through the melding of dance and music, Olivier Tarpaga has created an exhibition of the memories of men in political military unrest from the many uprisings within Burkina Faso. We got the chance to talk with him about his process in creating the work and the contexts that informed it.

FringeArts: Do you remember how the title Declassified Memory Fragment came into being?

Olivier Tarpaga: It came to me during a research trip in Kenya in 2010. I grew up in Burkina Faso and have witnessed military coups in 1980, 1982, 1983, a very bloody one in 1987, and the revolution in 2014. This piece is addressing the issues of military coups. The irony is that in 2015 a coup in Burkina Faso happened the day of the avant-premier of this very piece at Denison University in Ohio. It felt like history revisited. Our country has been independent from France since 1960 and there are many fragments of my childhood memories during this time of political instability. I wanted to bring this issue into the open air and expose it with an artistic approach.

FringeArts: How did the choreography come about?

Olivier Tarpaga: I began the piece in Ouagadougou, Burkina Faso. With my cast we first began with speaking about the politics of ethnic conflict during the Kenya election and Ivory Coast war. We spoke about our memories and knowledge of the war zones. Several cast members grew up in conflict zones and their families were directly affected. I gave specific tasks, images, gestures and directions to research movement based on memories and experiences of different conflicts in the region. I then selected, transformed and composed phrases based on themes and emotions. We worked with live musicians creating the work and making solos, duets, and group work.

FringeArts: What made it important for you that it was an all-male dance troupe?

Olivier Tarpaga: This is purposeful because all these conflicts and wars we are focusing on were all created and directed by men. Men fighting for power. I am pro-feminist and thus I am specifically making a critique of men creating violence to grab more power. This is our first project with only men. Our company is not all-male, in fact it is founded by Esther Baker-Tarpaga and I. We frequently have mixed gender casts.

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Alone Together at Close Music for Bodies

Posted September 20th, 2017

I’ve found myself thinking a lot about sonic resonance lately, due in no small part to some recent visits to La Monte Young and Marian Zazeela’s installation Dream House. Various incarnations of this sound and light environment have been mounted by Young—a revered minimalist composer, some say the first—and Zazeela—a light and visual artist and musician— around the world since 1969. The MELA (Music Eternal Light Art) Foundation Dream House at 275 Church Street in New York City has remained in that space for the last 25 years, the couple’s longest installation to date. It is a room of infinitely repeating cycles of sound and light frequencies, one that transcends its overwhelming, lower Manhattan surroundings.

During my first visit, initially the sounds contained therein were not as pleasant as I expected, grating even. It took a few minutes to acclimate, but once my eyes adjusted to the dreamy, pink and purple hued lights and my body to the drone reverberating through it, the experience was unlike much else. Speakers are directed such that where you position yourself in the room determines what you hear. You can even opt to just sit down on the lush carpeted floors and loll your head to witness the difference, exhibiting just how spatially specific the installation is.

I couldn’t help but recall this experience when observing a rehearsal of Close Music for Bodies on a rainy afternoon some weeks back. The piece from sound artist Michael Kiley premieres September 20th and runs until the 24th, part of the 21st annual Fringe Festival, and much like Dream House it calls attention to the infinite amount of unique experiences that structured sound can offer in a live setting. That’s about where the similarities end. Whereas the experience of Dream House is a solitary one, Close Music for Bodies is a communal, deeply humane work that wrings beauty out of the limitations of perspective.

Central to Close Music is Kiley’s voice practice, Personal Resonance. “My primary goal with teaching is to have the student understand that the real beauty and benefit of voice has nothing to do with how you sound, and everything to do with how your voice can make you feel physically—and therefore mentally,” he recently told the FringeArts Blog. “Once someone understands how to control that physical sensation, their voice becomes as accessible as breathing.” This democratization of singing is integral to the performance and bolstered by the democratization of the space itself.

Once the piece kicks into motion, the shuffling about of cast and audience rarely ceases. At various intervals throughout the duration the performers guide audience members into various formations and in turn have to constantly navigate around them. These are all very conscious, choreographed movements, shaped with the help of choreographer Sean Donovan, director Rebecca Wright, and the performers themselves. Explaining the team’s close attention to movement, Kiley told us in that same interview, “I’ve been thinking of the movement as sound design—like speaker placement, only my speakers happen to be performers.”

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John Szwed: Notes on John Coltrane’s A Love Supreme

Posted September 19th, 2017

This is a guest post written by anthropologist, writer, and jazz scholar John Szwed. He has taught Anthropology, African American Studies, and Film Studies at Yale University as well as Music and Jazz Studies at Columbia University where he served as Director of the Center for Jazz Studies. He has published many books on jazz and American music, including studies of Sun Ra, Miles Davis, Jelly Roll Morton, Alan Lomax and Billie Holiday. On Sept 23, he will interview Salva Sanchis, co-choreographer of A Love Supreme, at the FringeArts Bookstore.


On December 9, 1964, the members of the John Coltrane Quartet crossed the river from New York to Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey. It was night, because producer Bob Thiele preferred to work after the ABC-Paramount executives had left for the day; he could then avoid having to explain what he was doing. The quartet arrived at 7 o’clock and left before midnight, completing the entire recording of A Love Supreme with few retakes or edits, something quite extraordinary for a piece that long and complex, and without rehearsal.

Manuscript of A Love Supreme, by John Coltrane, 1964. Photo by The National Museum of American History.

More remarkably, there was no written music prepared for the session, only a chart that Coltrane had made to remind him of the structure. The musicians followed his directions, most of which were not spoken, but came from what they heard him playing. They were collectively composing by improvising together, creating a 33-minute art work, risking everything as the tape continued to roll. Musicians have improvised collectively since the beginning of jazz, but never for such a sustained period with no given harmonic structure and no agreed-upon melodies or rhythm. Bob Thiele was there, but unlike other producers he sat back and listened. His trust in Coltrane was such that he gave John control over what he recorded and when, an arrangement that no one in the music business short of a Frank Sinatra might have had. Thiele did not always understand John’s music, because it changed so rapidly and radically. Still, his belief was so strong that he defended anything Coltrane recorded to the company, both financially and musically. But A Love Supreme would not need defending.

While he was still living in Philadelphia and becoming a member of the Miles Davis Quintet, John Coltrane was controversial. To some his playing was meandering, boring, and harsh, even described as anti-jazz. Once, when French CBS received the master tapes for a Miles Davis Quintet recording, they complained to Columbia Records in the US that there was electronic distortion during Coltrane’s solos. But to others, he was a revolutionary—an intense, yet disciplined master, whose music carried the message of struggle and resistance, and was theme music to the Civil Rights Movement. But Coltrane saw a spiritual dimension to what he was doing, a means to peace. When Impulse Records placed ads in Rolling Stone calling it “fire music,” grouping him with the protests of some other black free jazz musicians, he distanced himself from such claims.

In 1957 Coltrane experienced a spiritual awakening of such force that he ended his addictions, reset his life, and with this recording he sought to signal his conversion musically, to testify to his encounters with God. When A Love Supreme appeared in February of 1965 his harshest critics were silenced, and for the first time he received virtually universal praise (though a few were put off by the confessional spirituality of his poem included in the album’s notes; it was too much for high modernists and hipsters). The album cover was black and white, a stark departure from all other Impulse records that were trimmed in orange and black.

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Making Art in 2017: Nick Jonczak on Doppelbanger

Posted September 16th, 2017

Photo by Robin Stamey.

Name: Nick Jonczak

Show in 2017 Festival: Doppelbanger

Role: Creator, Performer

Past Festival Show: Exile 2588 with Almanac Dance Circus Theatre

FringeArtsTell us a bit about your show.

Nick Jonczak: This show is probably the most personal and definitely the gayest piece I’ve ever created. About three years ago, a man broke up with me by saying, “I think I could love a version of you, but I don’t think it’s a version you want to be…” which is kind of a terrible thing to say to someone. At that point I was really consumed by what the best “version” of me is and how I could manifest-build-shape-sculpt-summon that facet of me into being. I became really aware of how this man and many others had shaped the way I hold and use and think about my body, and I also became really aware of how I, like so many other gay men I know, pursue men who look similar to themselves. Doppelbanger tries to tackle these ideas through a collection of stories from my life where I was left wondering: do I want to be him, or do I want to be with him?

FringeArtsHow have your interests in or approach to art making changed in the last year? Have you found yourself taking anything new into consideration?

Nick Jonczak: I’m absolutely terrified of solo work—this is the first public solo show I’ve ever performed—so I’ve really come to rely on my director, Vanita Kalra, for her amazing sensitivity and sensibility to help me understand the core of the piece, which has definitely evolved over the past year. Originally I was much more concerned with the piece as a reflection of the LGBT community, but, with Vanita’s invaluable guidance, the piece has shifted to a much more personal reflection on formative experiences. I tend to be pretty skeptical of performances that rely heavily on personal narrative, so in making this piece I’ve had constantly, gently give my self permission to make the content about me—and trust that it will resonate with audiences. Trust is hard!

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A Period of Animate Existence Reading List

Posted September 15th, 2017

Next weekend the beloved Philadelphia institution Pig Iron Theatre Company returns to the Fringe Festival with their first major work in two years, and it’s clear they put that time to good use. A Period of Animate Existence may be their most ambitious work to date, an awe inspiring large-scale piece of symphonic theater that examines the most universal, urgent issue of our time: climate change.

In an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off, rather than grappling with the issue in a lecturing, damning manner, the creative team hopes to achieve something more nuanced and universally relatable. “We’ve tried hard to avoid an activist voice with this piece—we want to avoid haranguing or scolding as we investigate the landscape of emotions around climate change,” director Dan Rothenberg told the FringeArts Blog. “As we contemplate extinctions, I keep talking about emotions that I don’t have a name for. I know what grief is, having experienced the deaths of people close to me. And I know what terror is. I think finding ourselves in the middle of extinction creates feelings like grief and terror, but it’s some other emotion that doesn’t have a name.” In taking this lofty approach to the issue, the artists have most certainly done their homework, and then some.

The company has been gracious enough to share with us a list of texts that helped inform the piece. These works may help deepen audiences’ understanding of the show, but, perhaps more importantly, they will help deepen their understanding of the serious crisis we are currently living with. If confronting this harrowing information sounds daunting or terrifying or a surefire way to send yourself into fear-induced catatonia, believe me, I understand. Yet, in reading from these works, I’ve found being informed in my dread has been far more comforting than being ignorant in it. And thankfully, despite the dire nature of the situation, many of these writers chart concrete courses of action for how we might curb the most catastrophic effects of climate change.

Taking in this full picture, perhaps you’ll find yourself not quite feeling grief, not quite feeling terror, but feeling that liminal emotion A Period of Animate Existence strives to articulate.

Vibrant Matter
Jane Bennett

Renowned political theorist Jane Bennet—known for her focus on nature, ethics, and affect— examines the active participation of nonhuman forces in natural events. Exploring just how political analyses of public events might change were we to acknowledge that agency is not strictly human, she suggests that such a change in perspective might provide impetus for more responsible, ecologically sound politics.

 

Key Writings
Henri Bergson

French philosopher Henri Bergson was an influential thinker of the early 20th century, one who recognized his time as a distinctly new and modern age, and in turn helped shape its intellectual discourse. At the core of his philosophy is his concept of Duration, a theory of time and consciousness, but most pertinent to the show is his concept of élan vital, his explanation for evolution (a relatively new concept at the time) and the development of organisms which essentializes life into “mobility itself.” This collection assembles Bergson’s most essential writings, including excerpts from Creative Evolution.

 

The Great Derangement: Climate Change and the Unthinkable
Amitav Ghosh

Acclaimed Indian novelist Amitav Ghosh takes to task our inability to grasp the scale and violence of climate change, particularly in terms of what he sees as an imaginative failure of literary writers. Arguing that the extreme nature of climate events make them resistant to contemporary modes of thinking and imagining, he sees this as connected to the fact that politics and literature have become matters of personal moral reckoning rather than a platform for collective action. They are therefore, at the moment, unequipped to deal with what is truly the greatest threat humanity has ever faced. It’s not all doom and gloom though, as Ghosh sees the climate crisis as an opportunity for us to imagine other forms of human existence. He sees no better realm to address this task than in the world of fiction.

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Making Art in 2017: Ryan Rebel on WILD, A Clown Western

Posted September 15th, 2017

Name: Ryan Rebel

Company: Shoe Box Company

Show in the 2017 FestivalWILD: A Clown Western

FringeArtsTell us about your show.

Ryan RebelWILD is a devised clown show set in the dusty world of the Western. I can’t say exactly where that concept came from beyond the strong desire to work with clown. The juxtaposition of the earnestly goofy clown form with the steely seriousness of the Western planted itself in my mind and refused to leave. As we move forward with the project, one of our main concerns is injecting life, warmth, and thoughtfulness into a tired genre riddled with outdated social norms.

FringeArtsHow have your interests in or approach to art making changed in the last year? 

Ryan Rebel: I’ve spent my life being careful and planning ahead. I tend towards introversion and social anxiety; planning is a way of protecting myself against the unexpected. Delving into the world of WILD has been a deliberate way to force myself to be spontaneous. Clown work cannot be planned; it is utterly anchored to the present. To do clown is to be open and reactionary. This year has been an exercise in minimizing expectations so as to maximize sensitivity.

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A Guide to Megapolis Audio Festival, Pt. 4: Installations and Digital Works

Posted September 14th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 2 (performances), and 3 (workshops).

For our final installment, we’re looking at installations and digital works from artists who approach sound through a multitude of different avenues. Many of these artists use sound as a medium explore everything from the overlooked sounds of our daily lives, to Misophonia, to the Jewish Viennese exile during the Holocaust. Some, on the other hand, have created glorious, thought-provoking, and purely multi-sensory works.

 

Installations

The Philadelphia Embassy of the Kingdoms of Elgaland-Vargaland (KREV)
Mike Bullock & Linda Gale Aubry
Sept 16-17 @ A surprise location
The Kingdoms of Elgaland-Vargaland (KREV) were founded in 1992 by Swedish artists Carl Michael von Hausswolff (King Michael I) and Leif Elggren (King Leif I) and occupies all border territories as well as liminal states and virtual territories. Excited for Megapolis to begin, the Philadelphia Embassy of this great nation would like to celebrate the festival’s arrival. Ambassador Mike Bullock (who is also a composer, writer and intermedia artist) and Minister of Ornamentation Linda Gale Aubry (also a musician and a multimedia artist) will appear at some point during the festival, with appropriate pageantry, to give renditions of the multifarious KREV National Anthem.

 

Filtered Ears
Scott Allison
Sept 16 & 17, 10am-5pm @ PhillyCAM
A mic’d window becomes a filter for everyday, oft-ignored sounds. Channeled through tiny speakers powered by handmade, 1-watt amplifiers encourage guests to listen closely for these delicate, overlooked sounds. An installation created by graphic designer and sound explorer Scott Allison, who also makes music solo with electronics and in free rock outfits Sunburned Hand of the Man and Kohoutek.

 

Fascists, Lovers, and Other Lonely Ghosts
Brian House
Sept 16 & 17 @ PhillyCAM
Brian House is a Providence-based artist whose performances, installations, and interventions address our relationship to technology through rhythm. This particular installation deals with notions of synchronicity, conflict, and transmission. On a screen small entities beep and flash like fireflies “listening” to each other. Based on proximity, they will fall in and out of unison. Viewers can disrupt their relationships by moving them around to create a cascade of rhythms.

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Making Art in 2017: Talia Mason on Onion Dances

Posted September 14th, 2017

Talia Mason. Photo by Irina Varina.

Name: Talia Mason

Show in 2017 Festival: Onion Dances

FringeArts: Tell us a bit about your show.

Talia MasonOnion Dances is an autobiographical solo examining the role that memories play in shaping one’s past, present, and future. It is is equally interested in how we remember and how we forget our inherited stories. There is dancing, storytelling, singing, reminiscing, and lots of questioning. Onion Dances is a work of dance theater that digs into what it means to be Jewish, and what it means to be a Jewish American during a Trump presidency. The world of the piece is gauzy, dusty, wrinkly, weathered, stinky (loaded down with the smells of time), and honest.

The concept for the piece came out of my time at the Headlong Performance Institute. One assignment was to create a constellation—an array of unrelated things that connections could eventually be drawn between. I had a sliced onion and a photo of my grandfather in my constellation. The rawness of the onion and the peculiarity of my grandfather’s expression made me want to learn more about my roots and my family’s journey to the United States in the 1870s. The piece developed from there.

Photo by Talia Mason.

Throughout the process, I have asked myself lots of questions: What does it mean to be a Jewish American? Does being a Jewish American mean the same thing for different generations? Why do we remember certain details and forget others? Why did Jews migrate across the United States when the large Jewish hubs were Manhattan, Baltimore, and Philadelphia? What did my ancestors like to eat? What traditions did they have that they then passed down? How do I know if what I remember is right or wrong? What happens to the people and events that we forget? How can a personal story become universal to audiences? How can this piece be accessible to Jews and non-Jews alike? I find myself trying to tackle some of these questions by using my family’s direct experiences as evidence as well as imagining what things may have been like for my ancestors in the 1870s.

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