The Philadelphia Live Arts Festival is a curated festival of the world’s most cutting-edge, high-quality performing arts groups who are invited by the Festival’s Producing Director Nick Stuccio. Live Arts presentations elevate Philadelphia as a performing arts destination through offering audiences artistic experiences that are both entertaining and intellectually challenging. The Live Arts Festival is often the only opportunity the region’s audiences will have to see these works without traveling internationally. In 2012, approximately 15 Live Arts shows will be presented.
TicketLeap is honored to be ticketing these events. Click “Read More” for the rundown.
Zero Cost House
A dream of radical change, thinks Toshiki Okada, reading Walden from his home in Tokyo. A beautiful book, but only a dream. Then 3/11 happens— those numbers will, for a generation of Japanese people, stand in for
the earthquake, tsunami, and subsequent nuclear disaster at Fukushima. In Tokyo, “unconfirmed” urban radiation levels are reported and milk is removed from supermarket shelves. In this atmosphere of deadly weirdness an architect who studies the homes of the homeless declares himself Prime Minister of Japan from his artist’s refuge in Kumamoto, far outside the city in Western Japan. For toshiki, the Walden fantasy is becoming a necessity.
Bring Toshiki Okada’s sly, personal, and idiosyncratic writing together
with Pig Iron’s raucous performance spirit, and you have Zero Cost House, a time- and space-bending autobiographical production about drastic relocations, rereading Walden, remaking government, and the freedom and heaviness of that moment when what’s impossible becomes concrete.
In short: self-appointed prime minister, coded gestures, Walden, duck suit.
Pig Iron theatre Company is one of America’s most inventive physical theater companies. Having trained in the movement style of the show’s author, Toshiki Okada, Pig Iron is the first English-language company to premiere Okada’s work. Previous Live Arts shows include: Twelfth Night, or What You Will (2011), Cankerblossom (2010), Welcome To Yuba City (2009).
Direction Dan Rothenberg Playwright Toshiki Okada Translation Aya Ogawa Set Mimi Lien Lights Peter West Sound Katie Down Costumes Maiko Matsushima Dramaturg Jackie Sibblies Drury Performers Mary McCool, Shavon Norris, James Sugg, Alex Torra, Dito van Reigersberg
Recommended for ages 15 and up. Tickets and more information.
27
It is dusk in a country with an invisible flag. The inhabitants party hard, celebrating their way too-early deaths. They are the champions of inconsistency. They are the zombie screw-ups. They are 27.
The country is the afterlife. Where the laws of the universe are ignored. Where life is brilliant. Where victory means self-destruction in the most pleasurable way possible. And defeat means fading from view.
New Paradise Laboratories returns to its roots in this muscular live performance. 27 examine maturity as a kind of tribulation, a labor against the laws of the universe that endures into death.
Accompanied by the best music in the solar system.
In short: necronauts, high weirdness, erotic magnetism of death, major personal screw-ups.
New Paradise Laboratories (nPL) is an experimental performance ensemble, creating innovative projects in a variety of media. 27 debuts a new company of nPL performer-collaborators.
Conceived and Created by Whit MacLaughlin and new Paradise Laboratories Direction Whit MacLaughlin Scenic Design Matt Saunders Lighting thom Weaver Sound Whit MacLaughlin and Alec MacLaughlin Original Music Alec MacLaughlin Costumes Tara Webb Performers Allison Caw, Julia Frey, Emilie Krause, Alec MacLaughlin, Kevin Meehan, Matteo Scammell
Recommended for ages 16 and up. Tickets and more information.
Bang
A hilariously bold and dangerously inventive comedic-clown-theater- spectacular, Bang answers the question—under the glow of a pink neon sex show sign—what happens if you get what you want?
Three of Philadelphia’s top physical and comedic performers—Charlotte Ford, Lee Etzold, and Sarah Sanford (of Pig Iron theatre Company)—take the stage for a no-holds barred, sexually explicit, and hilarious exploration of nudity, desire, gender roles, and sexual arousal. Hosting are Cheyenne, a new-age spiritualist in indigo thai fisherman pants; gayle, who wears mom jeans, 5-inch cougar heels and is desperately in search of a sperm donor; and Barb, who recites Canterbury Tales in the original old English, yet has mad tap skills.
Playing with the head, heart, and groin, the show plays off the audience, and plays directly to them. Humans take sex very seriously. Bang approaches
all things sexual from the perspective of clowns, and exploits the awkward humor in the strange shapes our naked bodies can make. Prepare yourself.
In short: pink neon, what women desire, 90s boy-bands, wool tights, orgasm chair.
Charlotte Ford is a Philadelphia-based theater artist who creates avant- garde slapstick performance art that celebrates sublime stupidity with joyful abandon. She and her Bang cohorts Lee Etzold and Sarah Sanford are known for their superb comedic performances. Bang is the first show that the three have collaborated on together. Previous Live Arts shows: CHICKEN (2010), Flesh and Blood and Fish and Fowl (2008).
Conceived by Charlotte Ford Director Emmanuelle Delpech Costumes Katherine Fritz Performers and Co-creators Lee Etzold, Charlotte Ford, Sarah Sanford
Recommended for ages 16 and up. Includes nudity. Tickets and more information.
Red-EYE to HAVRE de GRACE
On September 27, 1849, Edgar Allan Poe set out on a lecture tour from Virginia to New York. Days later a train conductor saw Poe in Havre de grace, Maryland, wearing a stranger’s clothing and heading south to Baltimore where he died on October 7. Innovative stage director Thaddeus Phillips teams up with the Minneapolis-based musical duo Wilhelm Bros. & Co. to create an action-opera that follows the odd details surrounding Poe’s mysterious last days. Informed by 19th century train routes, historical accounts, and Poe’s letters
To his mother-in-law Muddy, RED-EYE to HAVRE de GRACE comments on the nature of being an artist in America and casts Poe in a new light by exploring his writings on the gold rush, fools, furniture, and the universe.
This visually striking production exploits the full capabilities of a traditional fly-house proscenium theater by experimenting with curtains, borders, trap doors, mirrors, slight-of-hand,
and illusions. Poe’s letters and selected writings become song lyrics and the live musical score uses prepared and bowed pianos. Simple set pieces—door, table, and bed frame—transform into trains, hotel rooms, bars, hospitals, lecture halls, and even the Philadelphia Waterworks. And through it all, Virginia, Poe’s deceased wife (and cousin), haunts Poe with her silent yet stunning movement.
In short: train journeys, junk pianos, Poe’s last days, letters become music, surreal dance, Eureka.
An abridged RED-EYE was presented in the 2005 Live Arts Festival; this year’s remount is its first fully- staged production. The creative team includes Geoff Sobelle (Elephant Room) and Sophie Bortolussi (Lady M in Sleep No More) with lights by Drew Billiau (opera Company of Philadelphia), sound design by Rob Kalpowitz (tony award-winner for Fela!), and magic consultation by teller. Previous Live Arts shows include: WHaLE OPTICS (2011), ¡EL CONQUISTADOR! (2010), FLAMINGO/WINNEBAGO (2007).
Direction and Stage Design Thaddeus Phillips Collaborators Thaddeus Phillips, Jeremy Wilhelm,
Geoff Sobelle, David Wilhelm, Sophie Bortolussi Music Wilhelm Bros. & Co. Choreography Sophie Bortolussi Lights Drew Billiau Sound Rob Kalpowitz Costumes Rosemarie Mckelvey Dramaturgy Tatiana Mallarino Magic Consultation Teller Performers Sophie Bortolussi, Ean Sheeny, Jeremy Wilhelm, David Wilhelm
Recommended for ages 12 and up. Tickets and more information.
This Town Is A Mystery
Every home is a universe.
This Town Is a Mystery combines local performance and dinner in four Philadelphia homes. Created over the course of several months by Headlong and each home’s residents, the dance works are performed by the residents in their own living rooms—transformed into a fully teched stage—with no professional performers.
Five easy steps:
1. Buy a ticket.
2. Make a dish.
3. Travel to a neighborhood. Sit in the living room with ten other audience members. The lights go down.
4. Show time. The household performs their piece, blending stories of their lives, the household, and the neighborhood.
5. Potluck dinner. Good thing you brought your dish.
In short: who lives in Philly, citizen dancers, dinner and a show, domestic rhythm, go somewhere new.
Headlong Dance Theater is known for their collaborative interdisciplinary approach to making works that are innovative and accessible. Previous Live Arts shows include: Red Rovers (2011), More (2009), Explanatorium (2007).
Directed by Headlong Dance Theater Lighting and Space Design by Thom Weaver Sound and Video Design by Rucyl Mills Performers Shannon Aryadarei, Zahed Aryadarei, Shaheen Aryadarei, Sydney Aryadarei, Sulaimon Aryadarei, Lea Bostick, Princess Bostick, Adam Bostick, Kendra McQueen, Calvin McQueen, Kassean McQueen, Tobie Hoffman.
Recommended for all ages. Tickets on sale soon.
Le Grand Continental
Watch the world’s most glorious contemporary dancing event from the front steps of the Philadelphia Museum of Art.
Le Grand Continental is a festive—and FrEE—30-minute outdoor adventure that has assembled nearly 200 local dancers of all ages and backgrounds to show off the talent, charisma, and personality of Philadelphians. First created for Montréal’s renowned Festival transAmériques, the Philadelphia version promises to be one of the largest presentations of its kind in the world.
When choreographer Sylvain émard began these large-scale dance events he had no idea of the enthusiastic audience response he would unleash.
Le Grand Continental is an infectious art spectacle that combines exuberant line dancing with the fluidity and expressiveness of contemporary dance. As a child émard discovered the pure pleasure of movement through line dancing, and with this captivating presentation he pays tribute to this popular art form.
In short: outdoors, dancers of the people, joyous movement, cultural encounter, grand scale dance.
Sylvain émard danced for choreographers such as Jean-Pierre Perreault, Louise Bédard and Jo Lechay. He founded his own company Sylvain émard Danse in 1990. His repertoire of more than 25 unique pieces has been critically praised at home and abroad. A recipient of numerous awards, sylvain émard often works as a guest choreographer in theater, opera, and film.
Recommended for all ages. More information. FREE
Notes on the Emptying of a City
In a performance acting as a dismantled film, a narrator pieces together the sounds, images, and voiceover of a documentary before a live audience. Seated at a desk with a text and a laptop computer, artist and activist Ashley Hunt weaves video-testimonies of survivors together with his own personal recollections as a documentarian and organizer in the aftermath of Hurricane Katrina.
While new disasters and emergencies move through the headlines on a daily basis, the political and human crisis of Katrina has, for many, receded into the past. Notes on the Emptying of a City brings back to the present the ruined and emptied homes, the cataloguing marks left by soldiers and police, and the prison that the city refused to evacuate. Hunt’s performance re- opens complex questions of race, visibility, and speech, which still beg for answers.
In short: voices from Katrina, live journalism, political crisis, leaving disaster for comfort, emptied architecture.
Ashley Hunt sees art and activism as interconnected disciplines with similar missions, and combines the
two to engage ideas of social movements and public discourse. Among his most recent works are the ongoing Corrections Documentary Project and exhibitions at the
Project row Houses and the Museum of Modern Art. He has also worked closely with Critical resistance and other grassroots organizations over the past ten years.
Recommended for ages 13 and up. More information. FREE
The Gate Reopened
One of the most popular Live Arts Festival shows of all time returns—newly built, newly imagined, and completely reopened.
The Gate Reopened takes over Pier 9, a municipal warehouse on the Delaware River that is nearly 100 feet wide by 535 feet long and where international steamers once docked. Inside this massive structure the gate has been built anew as a 20-foot high cylindrical octagon. With theater-in- the-round seating, audiences encircle the eight dancers in what has become a futuristic, post-industrial, post-apocalyptic coliseum.
Performers suspend, rebound, propel, ascend, hover, mount, hang, and free-fall all for the sake of the gate. Like a giant jungle gym for the insane with spinning ladders, moving walls, water, and breathtaking formations of bodies, The Gate Reopened is an exhilarating feast of exciting physicality and creativity, elegantly served up with beauty and wit.
In short: vertical formations, post-apocalyptic in the round, dynamic beauty, mud bath tribal ritual.
Brian sanders’ JUnK is known for the ingenious use of found objects
and clever inventions that bridge the gap between dance and physical theater. Sanders’s choreography blends traditional dance theater with inventiveness, physicality, and stunning imagery. Previous Live Arts shows include: Sanctuary (2010), Urban Scuba (2009). Previous Philly Fringe shows include: Dancing Dead (2011), Flushdance (2008).
Choreography Brian sanders Set Conrad Bender Performers Jerrica Blankenship, teddy Fatscher, Gunnar Clark, Shelby Joyce, John Luna, Billy robinson, tommy schimmel, Connor senning
Recommended for 15 ages and up. Includes nudity. Tickets and more information.
Private Places
Philly-based choreographer Jumatatu Poe debuts this exciting, visceral work that mixes explosiveness and confinement, the effect of exterior on the interior, service and performance, materials and identity. Private Places plays with the stylized movement of the service industry and the high-powered approach of J-sette, a dance culture developed in black gay clubs with roots in drill team and majorette events of southern historically black universities. The two share spatial formations that are tight and meticulous, activity that is repeated for accuracy, and routines performed under the surveillance of a captain.
From subtle interaction to bombastic theatrical expression, Private Places examines notions of order—how we order, categorize, groom, distinguish, and distort ourselves to achieve standards of presentation. Immediate and exquisite switches of physicality, direction, and formation create a dizzying interplay between the movement of one and the movement of the group.
In short: runway roar, percussive bodies, amplified identities, J-sette, explosive movement.
An IdiosynCrazy production is an experimental dance theater company based in Philadelphia. Artistic director Jumatatu Poe creates dance work from both conceptual and experiential inspirations, questioning social realities and relationship dynamics.
Direction Jumatatu Poe Dramaturgy George Sanchez Choreographic Consultant Donte Beacham, LaKendrick Davis, Shannon Murphy Lighting Catherine Lee Scenic Design Evan Leigh Costumes Katie Coble Booklet Cara Cox Performers and Movement Designers Leanne Grieger, Gregory Holt, Shannon Murphy, Jumatatu Poe, Gabrielle Revlock, Samantha Speis, Zornitsa sSoyanova, Michele Tantoco
Recommended for 16 and up. Includes nudity. Tickets and more information.
Arugendo
New York City’s much-heralded Elevator repair service turns its unique theatrical perspective on Barnes v. Glen Theatre, a 1991 First Amendment case brought by a group of naked go-go dancers. The justices debate whether erotic dancing is protected speech under the U.S. Constitution.
Is dancing naked in a strip-club an exercise of artistic expression or a crime? Arguendo presents the justices and the advocates for the two sides as great minds—and average people—who possess both intellectual fire and light-hearted senses of humor. What emerges on stage is in turns absurd, hilarious, provocative, and intellectually compelling.
In short: law of art, Supreme Court a go-go, creative patriotism, fig leaves, erotic expression.
Elevator repair service is a New York City-based theater ensemble that was founded by director John Collins in 1991. The company has since created an extensive body of work built from a variety of sources that include found text, video, film, literature, and ensemble-generated choreography. Previous Live Arts shows: The Select (The Sun Also Rises) (2010), GATZ (2007).
Director John Collins Video Designer Ben Rubin Created and Performed by Elevator Repair Service
Recommended for ages 14 and up. Tickets and more information.
Sequence 8
Fresh from their 2011 Live Arts Festival hit Traces, 7 Fingers returns with the U.S. premiere of Sequence 8. The Montreal-based circus company creates circus on a human scale—placing the extraordinary element of circus in ordinary contexts. In extreme close-up, Sequence 8 features aerial hoops, rings, Korean board, cigar box juggling, Chinese acrobatics, and incredible feats of balance and beauty—all by performers whose basic human desires and qualities audiences can relate to.
The show takes inspiration from C. g. Jung’s quote, “the meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.” Emotions are so heightened they spring into action; relationships evolve until they spur actual velocity. Set not in a specific time or place but rather on a vertical canvas, Sequence 8 plays with how relationships and encounters with the other transform and propel the performers into wildly dynamic acrobatic movement.
In short: circus up close, propulsive acrobatics, Chinese hoop diving, cigar box juggling, collision theatrics, suspended in air.
Les 7 Doigts de la Main (7 Fingers) is a twist on a French idiom—“the five fingers of the hand”—describing distinct parts moving in coordination towards one common goal. The company’s seven founding directors combine their distinct talents to work towards their common artistic goals— with the beautifully awkward dexterity of a seven-fingered hand. Other shows include Loft, La Vie, and Psy. Previous Live Arts Festival show: Traces.
Direction and Choreography Shana Carroll and Sébastien Soldevila Performers Eric Bates, Ugo Dario, Colin Davis, Devin Henderson, Alexandra Royer, Maxim Laurin, Camille Legris, Tristan Nielsen
Recommended for all ages. Tickets and more information.
Untitled Feminists Show
In young Jean Lee’s latest experiment, six charismatic stars of the downtown theater, dance, cabaret, and burlesque worlds come together to invite the audience on an exhilaratingly irreverent, nearly wordless celebration of a fluid and limitless sense of identity.
In short: fluid identity, irreverent potential, funny and fierce, humanist celebration, and fun with parasols.
Young Jean Lee’s theater Company is an experimental theater company that has been developing and producing shows written and directed by young Jean Lee since 2003. Lee writes her shows as she directs them, working collaboratively with performers and an artistic team, and with feedback from workshop audiences. The company seeks ways to slip past audiences’ defenses against uncomfortable subjects and open people up to confronting difficult questions through unpredictability and humor.
Conceived and Directed by Young Jean Lee in collaboration with Faye Driscoll, Morgan Gould, and the company Dramaturgy Mike Farry Video Leah Gelpe Scenic Design by David Evans Morris Lighting Raquel Davis Sound Chris Garmo and Jamie McElhinney Produced by Aaron Rosenblum Performers Becca Blackwell, Morgan Gould, Katy Pyle, Regina Rocke, Jen Rosenblit, Amelia Zirin-Brown aka Lady Rizo
Recommended for ages 16 and up. Includes nudity. Tickets and more information.
Hot Pepper, Air Conditioner, and the Farewell Speech
Office workers debate what restaurant to order food from for their laid-off co-worker’s final day. A woman bemoans the office’s chilly air conditioning with a male colleague—is it poor circulation or a gender issue? The laid-off worker delivers a rambling farewell speech about imaginary penguins and an insect she crushed to death on the way to work.
From acclaimed Japanese playwright-director Toshiki Okada comes this triptych of plays that capture the malaise and instability of young low-level office workers with humor and striking movement. Set within an office break room, this trio of interconnected stories is accompanied by the performers’ choreographed gestures, everyday motions that have evolved into startling physical images of emotion and thought.
In short: imaginary penguins, office break room, last meal, bad circulation.
Toshiki Okada formed the theater company Chelfitsch in 1997. He has written and directed all of the company’s productions, practicing a distinctive methodology
for creating plays, and is known for his use of hyper- colloquial Japanese and unique choreography.
Written and Directed by Toshiki Okada Lighting Tomomi Ohira Set and Sound Ayumu Okubo Associate Producer Precog Performers Taichi Yamagata, Riki Takeda, Mari Ando, Saho Ito, Kei Namba, Izumi Aoyagi
Recommended for ages 15 and up. Tickets and more information.
Food Court
Part concert, part theater show, FOOD COURT follows a near death experience in a suburban mall by the Asian Hut and the Juice Bar. Played out in a psychological space constructed from light and sound, the stage transforms
a mundane seating area into a shadowy void, where the edges between floor, walls, and ceiling become indistinguishable. This majestic canvas then moves its performers into a forest, a place of nightmares where the moral and ethical framework keeping our fragile civil existence together no longer exists.
FOOD COURT features the remarkable vision of Australia’s Back to Back theatre and the live music of the necks, who create a new score for each performance. FOOD COURT is a hypnotic work of art that cannot help but unsettle its audience, who must confront the strange dynamics of power, its allure for all, and its consequences in forms of vulnerability, oppression, guilt, nakedness, human disempowerment, and violence.
In short: between beauty and violence, seeing and not seeing, chaos and control, and the abled and disabled body.
Back to Back theatre was founded in Geelong, Australia, in 1987 to create theater with artists who are perceived to have disabilities. The company
has become one of Australia’s leading creative voices, focusing on moral, philosophical, and political questions about the value of individual lives. The necks are one of the great cult bands of Australia and a leading producer of experimental jazz. Previous Live Arts show: small metal objects (2009).
Director and Devisor Bruce Gladwin Music by the necks: Chris Abrahams, piano, Lloyd Swanton, bass, and Tony Buck, drums Set Mark Cuthbertson and Bruce Gladwin Lighting Andrew Livingston, bluebottle Animated Design Rhian Hinkley Sound Hugh Covill Costumes Shio Otani Performers and Devisors Mark Deans, Nicki Holland, Sarah Mainwaring, Scott Price, Sonia Teuben
Recommended for ages 16 and above. Includes nudity. Tickets and more information.
Red, black and GREEN: a blues
This interactive installation and performance blends spoken word, music, film, and contemporary and hip-hop dance to re-imagine a green movement that is inclusive of black and brown voices, and posits that valuing life is the first step to valuing the planet. Immersing audiences in a new mode of kinetic performance, red, black & GREEN:
a blues strives to unite communities around a broader definition of “sustainable living” and to be a catalyst for cultural and creative engagement.
Developed during a three-year community-based civic and artistic process, red, black & GREEN: a blues takes place within a modular set of row houses made from repurposed materials. these houses represent four American cities—Oakland, New York, Houston, and Chicago. Within and among the houses, distinctive characters share personal stories through poetry, monologue, song, and movement that reflect on poverty, violence, racial consciousness—and how we, as a collective society, can invent and navigate sustainable survival practices in urban America.
In short: environmental justice in motion, hip-hop hybridization, transformative space, spoken word, ritual magic.
Marc Bamuthi Joseph is one of America’s vital voices in performance, arts education, and artistic curation. He is the artistic director of the seven-part HBo documentary Russell Simmons presents Brave New Voices. The narrative for red, black & GREEN: a blues grew out of the stories cultivated at Joseph’s Life is Living festivals.
Conceived and Written by Marc Bamuthi Joseph Direction Michael John Garcés Set and Installation Concept and Design Theaster Gates Choreography Stacey Printz Film Eli Jacobs-Fantauzzi Lighting James Clotfelter Media Design David Szlasa Performers Marc Bamuthi Joseph, Tommy Shepherd aka Emcee Soulati, Traci Tolmaire, yaw
Produced by MAPP International Productions. Recommended for ages 10 and up. Tickets and more information.
Open Air
Imagine walking along on a balmy evening in late September, and you’re looking up the Ben Franklin Parkway. You speak into your phone and twenty-four robotic searchlights—placed along a half-mile stretch of the Parkway—move to the sound of your voice, interpreting your inflections into motion and transforming the city’s skyline. You stop speaking (or singing or humming or rapping) and the lights continue to move, controlled now by other speakers collaborating with you from up and down the Parkway.
Famous for creating interactive installations on intimate and citywide scales, artist Rafael Lozano-Hemmer underlines the connective, poetic uses of technologies originally developed for largely military and surveillance purposes. In the sky over the 2010 Vancouver Olympics, he enabled thousands of individuals to pre-design 200,000 watts worth of lights for twenty seconds at a time. In Open Air he brings his distinctly personal aesthetic to Philly and empowers you to animate your skyline. Using
the custom-made mobile app “Philly open Air” your voice brings these enormous three-dimensional formations to life.
In short: immense made intimate, robotic searchlights, listening in, outdoors on the Parkway.
Rafael Lozano-Hemmer’s installations sense, record, interpret, and respond to their audiences, and represent the cutting edge in interactive art. He has been featured in museums in four dozen countries and his credits include projects designed for such large-scale events as the 2004 Expansion of the European Union in Dublin, the 50th Anniversary of the Guggenheim Museum in New York, and the 2010 winter Olympics in Vancouver.
Eakins Oval Information Center: 24th street and the Ben Franklin Parkway, across from the Philadelphia Museum of Art. Smartphones will be available for loan.
Sister Cities Park Information Outpost: 18th street and Logan square. Both locations will broadcast the voices of participants, and have seating areas for watching the lights. Information center hours: 7:30pm–11pm. recommended for all ages.
More information. FREE.
Marina Abramović: The Artist is Present
Marina Abramović has been a groundbreaking and controversial force in performance art for forty years. In 2010 a major retrospective of her work at New York’s MoMA featured her most recent performance, The Artist Is Present, in which audience members took turns sitting silently across a table from Abramović and making eye contact for as long as they like. Marina performed for over seven hundred hours, sitting motionless for seven and a half hours a day, moving her always-changing audience variously to introspection, emotional outburst, and tears.
This mesmerizing documentary film begins in the final throes of planning for the retrospective, providing an intimate insight into Abramović, and follows through the run of her extraordinary performance.
More information and tickets.
There are many, many more performances slated for Live Arts Fringe 2012. Be sure to pick up a physical copy of the festival guide, which will be available at many Center City Philadelphia locations ASAP.