Mendieta’s work is a call to neither only empathy nor only imagination; it implicates the audience as both co-agents and co-artists through participation.
"It is necessary to reveal the ways that New York City theaters, often touting themselves as cultural forums and hubs for inclusivity, are both succeeding and failing in ways to meet these goals through their most visceral, visual spatial impressions."
Cast member Gwendoline Horning discusses the upcoming performance of The Brides of Atreus and "the exciting and occasionally challenging nature of ensemble-based theater-making."
"The movement side grew out of an unexpected spatial circumstance in my life, an impromptu movement problem of sorts."
"STEP #1: Be sure to wear eye/face protection. Handle balloon with care. Clean hands of dirt and remove sharp objects from inflation area."
"She recalls a sweep of red, a hollow clanging bell, a smoky scent, a flick of hot spit or sweat flying out far from a bony, painted boy."
A social media-mashup, an improvised digital soundtrack, and, ultimately, a contemplation of the notions of the cyborg and the spectacle. Video.
"I had shaved my head, and strangers would ask if I had joined the Army...I bought a uniform at an Army supply store and dressed for the camera. I sought to catalog dangerous affects that could blow my cover—a gaping mouth, a gaze." Self-portraits.