Category: AUDIENCE

A Choreographer Creates An Homage To Fluidity, Biculturalism, And A Classic Third-Wave Feminist Book

That’s right, choreographer Miguel Gutierrez titled his new dance after the classic anthology This Bridge Called My Back – but with the word “ass” instead of back in his title. “‘What underlies ‘This Bridge,’ Mr. Gutierrez said, is a consideration of something that has long piqued him: ‘the perception that artists of color are always doing content work’ — dealing with identity politics — ‘and white artists are only doing form and line.'” – The New York Times

If You Throw A Choose Your Own Adventure, But There’s No Actual Adventure, What’s The Point?

Dear Netflix: What are you doing with Bandersnatch? (Of course, Netflix’s goal is simply to have more time spent on Netflix, which a meandering choose-your-own-adventure Black Mirror movie accomplishes quite well.) One critic: “I wanted either more control or less. I didn’t want just to declare the outcomes, I wanted to influence the motivations. Otherwise the outcomes have no grounding, no purpose.” – The New York Times

Creating Ability-Positive Theatre for Children

“Stories that are ability-positive center around real or fictional characters with different ability statuses, not for dramatic reasons, like an abled character experiencing a new struggle, but simply to show humans, in all their complexities, who make up the fabric of our world.” Tim Collingwood, an actor-playwright-activist who identifies as having Asperger’s syndrome, writes about how he was inspired to meet the ability-positive ideal with an adaptation of The Ugly Duckling. — HowlRound

To Understand The Future Of Post-Advertising Media, Look To The 19th Century

Derek Thompson points us back to the age of the “party press,” when newspapers were funded by political organizations that “treated readers as a group to engage and galvanize. … It was advertising that led to the demise of the party press … [and to] the modern standards of ‘objective’ journalism.” (Mustn’t make the advertisers nervous.) “As the news business shifts back from advertisers to patrons and readers (that is to say, subscribers), journalism might escape that ‘view from nowhere’ purgatory.” — The Atlantic

A Little Chinese Arthouse Film Sets New Box Office Records — Because Its Marketers Tricked The (Now-Angry) Public

Filmmaker Bi Gan’s Long Day’s Journey Into Night, described by a correspondent as a “dreamy pseudo-noir,” grossed nearly $38 million on its first day, nearly unheard of for an art flick in China. How? That first day was Dec. 31, and the producers marketed the film (no relation to the Eugene O’Neill play) as the perfect romantic date flick for New Year’s Eve. The overnight reaction on social media was not pretty. — Variety