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The Smithsonian’s Hirshhorn Museum and Sculpture Garden will present pioneering American dancer, choreographer and filmmaker Yvonne Rainer’s self-described “last dance” in the Rasmuson Theater at the Smithsonian’s National Museum of
CAN AN ARTIST HIT THE JUGULAR while they’re reaching for the wallet at the same time? Only if the wallet and the jugular are the same thing. In the cultural devolution of “audience” to “eyeballs,” perhaps no genre has so loudly insisted on its robust resistance to power as comedy—and perhaps no genre’s complicity has, since 2017, been made more transparent. (Let the rise of Joe Rogan be citation enough here.) To borrow a one-liner from Morgan Bassichis’s brilliant solo performance Questions to Ask Beforehand (Bridget Donahue), “What stage of capitalism is it called when everyone’s a comedian?”
With more than a half-century of work behind her, Rainer goes out swinging with “Hellzapoppin’: What About the Bees?,” which takes on themes of race and resistance.
I'm always telling people you need to understand development to understand the evolution of form, because development is what evolution modifies to create change. For example, there are two processes most people have heard of. One is paedomorphosis, the retention of juvenile traits into adulthood — a small face and large cranium are features of young apes, for instance, and the adult human skull can be seen as a child-like feature.
Robot Reboot 62 (S8E1) kpsu.org - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from kpsu.org Daily Mail and Mail on Sunday newspapers.