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Posts Tagged ‘Tara Webb’

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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At Home on Midway Avenue: Interview with Nichole Canuso

Posted April 24th, 2014

photoNichole Canuso is drawn to what people choose to embrace and what they try to erase from their memories, especially as relates to spaces. In her new solo dance performance (at FringeArts May 2 through May 4), Midway Avenue, she explores what happens when “the house you grew up in squeezes into your current home, bending walls, twinning rooms, tilting windows.” In the performance, she constructs and transforms her own memories of growing up in 1980s Philadelphia while through her dance she builds—and takes apart—her current house on stage. We caught up with Nichole to find out some background to the show, as well as what it’s like to create a solo work.

FringeArts: How did you come up with the title Midway Avenue?

Nichole Canuso: Midway Avenue is the name of the street I grew up on. This title came towards the end of the process, once I knew the subject matter of the dance was centering around this house I lived in as a child.

web-3.-Nichole-Canuso_Midway-Avenue_Photo-by-Peggy-WoolseyFringeArts: Can you talk about what Midway Ave is exploring and how it came about?

Nichole Canuso: This dance grew out of a choreographic research project that I instigated a few years ago that focused on the integration and exploration of verbal meaning and physical logic. The main thrust of the project was, and still is, an investigation of the intersections of words and movement in performance. I wanted to give myself the space to use my voice, my writing, and my body in range of ways—to challenge myself to arrange, strip down, and layer meaning in playful and meticulous ways.

As the process evolved my own stories and my own body became the source material and the platform for these formal investigations. Images and stories from my childhood home kept coming up in improvisations and experiments. What began as a formal exploration of language and body eventually became a personal excavation of memory, architecture, and the body. The solo veered in this direction for a few reasons. For one, solos are inherently personal, there is something vulnerable about standing alone. Second is timing: my son is currently the age that I was when a lot of my most potent childhood memories formed.

FringeArts: What’s it like to create a solo work? What appeals to about solo work from an artistic standpoint? And why now was the right time to create it?

Nichole Canuso: When I was a kid I spent a good amount of time alone. And I loved it. As an adult my life is filled with collaboration, discussion, parenting, and negotiation. I love this too.  In recent years I’ve been sculpting large installations with incredible groups of collaborators [Check out Nichole’s work in this area: Wandering Alice, TAKES, The Garden]. I’m also a mother, so for years time alone meant time writing at a computer, or sleeping.

nic on buildingBut some piece of me was ready to work alone for a bit. To return to a solitary place. In the beginning being alone in the studio felt unfamiliar, lonely, sometimes haunting. I realized I hadn’t really been alone in a studio for substantial chunks of time since before I’d become a mother, seven years prior.

But with this project, being alone with my body was the essential starting point. This time alone was not always “pleasant” and not always immediately “productive.” Spending long periods alone in the studio felt odd, like reconnecting with an old friend. Or maybe more like a frustrated grandmother who quips, “Why haven’t you visited?!” And like reconnecting with loved ones or taking a tour of an old house, you see things with a new perspective, while simultaneously experiencing a flood of memories. These sensations seeped into the content.

These sensations became the foundation for this new solo.  A lot of personal material was creeping into the process and although I wasn’t quite sure I wanted to use it as the subject for a work that I would share with the public, from that foundation I found portals into new ways of working. And eventually I found the courage to dig around and to allow myself to use my own stories as a frame for something larger than myself.

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