[SIGN FELT] Sad Boys in Harpy Land
April 2-April 4
$15 – $24
An ecstatic explosion of melancholy that embraces the insights of splintered thought. Hysterically hopeful.
In this new work, Alexandra Tatarsky collages narratives of art-making and despair into a deranged meditation on derangement. Drawing on sources from Goethe to Seinfeld, this unhinged solo piece from “one of the most exciting and hilarious performance artists around” (ArtSpace) both embraces and mocks the very idea of a one-woman show. Equal parts sad clown, demented cabaret, and extended crisis of meaning, with a sprinkling of drag, toy theater, and nonsense poetry, [SIGN FELT] Sad Boys in Harpy Land is a highly calibrated mess that journeys deep into the Dantean hellscape of the mind to ponder what might we learn from our own monstrosity.
Created and performed by Alexandra Tatarsky, with direction by Eva Steinmetz, this performance comprises one moment in Tatarsky’s SIGN FELT series, a lifelong pseudo-autobiography about nothingness. It takes its title from Helen Adam’s feminist take on the Inferno in her humorous collage poem “In Harpy Land.”
There will be a post-show panel following the Friday, April 3rd performance of [SIGN FELT] Sad Boys in Harpy Land.
Performances include sounds of war and audience interaction. Content may reference self-harm/suicide, violence, blood, ableism, racism, sexism, classism, religious-based discrimination, and heterosexism.
Member discounts available
High Pressure Fire Service Subscriptions
$75 4-show package
$60 3-show package
[SIGN FELT] Sad Boys in Harpy Land was commissioned by Abrons Arts Center through the Jerome Foundation AIRspace Residency Program and was developed through the support of the Camp Fringe residency supported by Independence Foundation. Research and development made possible in part by The Jilline Ringle Solo Residency Program and the Independence Foundation Fellowship in the Arts.
About the Artist
Alexandra Tatarsky (she/they) makes performances at the unfortunate in-between zone of dance, theater, comedy, and deluded rant — sometimes with songs. Venues include Vox Populi, Little Berlin, Space 1026, La Mama, Judson Church, MoMA PS1, Gibney Dance, Abrons Arts Center, The Kitchen and many bars and basements. Writings on spambot poetry, bootleg lyricism, and grotesque politics can be found in publications including The New Inquiry, Hypocrite Reader, ArtReview Asia, Garlands, Spike, Press & Fold, Weekday, and Folder. Her work seeks the logic of the clown as an antidote to despair and a model of one who keeps trying despite (repeated) failure. @tartar.biz
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