FringeArts

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A PERIOD OF ANIMATE EXISTENCE (Pig Iron): Creating an environment for thought

It is our job as artists to create environments for people to see things differently. Pig Iron did that.

Sketches by Chuck Schultz.

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Fringe in Sketch: HOME (Geoff Sobelle)

Our personal space is our own

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Opera Innovator: An Interview with David Devan ahead of the O17 Festival

Opera Philadelphia’s innovative general director previews the upcoming O17 Festival.

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Dance in Sketch: Faye Driscoll’s THANK YOU FOR COMING: PLAY (FringeArts)

The narrative of the play dances around anxiety, narcissism, and companionship, and the cards let truth be told.

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IT’S SO LEARNING is Even Berserker!

Republished by kind permission from FringeArts. Bradley Wrenn, co-founder of The Berserker Residents, talks about how the company is revamping their 2015 Fringe hit It’s So Learning to reflect our new, terrifying…

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A RIDE ON THE IRISH CREAM (Erin Markey/ FringeArts): The mind does crazy, sexy, cool things with memories

In A RIDE ON THE IRISH CREAM the script and choreography embodied the textures and lyricism of the music.

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SANS EVERYTHING (FringeArts): Artificial Intelligence with Lightning Rod Special + Strange Attractor

Humanity creates its own godhead – AI – that longs to experience its creators through Shakespeare

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Dance in Sketch: More from Annie Wilson’s AT HOME WITH THE HUMORLESS BASTARD (FringeArts)

Events like AT HOME WITH THE HUMORLESS BASTARD need to happen more often. It isn’t just dance; it is socially provocative artwork.

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Dance in Sketch: AT HOME WITH THE HUMORLESS BASTARD

“Is this a dance performance or a social experiment?”

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JEAN & TERRY (FringeArts): A mystery of the heart

What exactly is the relationship between Jean and Terry?

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Theater in Sketch: JEAN & TERRY

Philadelphia artist Melissa Krodman and long-time collaborator Kelly Bond enter the mind’s eye for an experimental new play.

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Dance in Sketch: Jérôme Bel (FringeArts)

Witnessing Jérôme Bel’s dance I captured the representation of a baroque drama, an existential dance, and light and sound personified.

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LE CARGO (Faustin Linyekula) 2016 Fringe review 89

“I am simply here to dance,” says Faustin Linyekula.

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FOUR MINUTE BOOTH (Gatto + Hirano): 2016 Fringe review 75

Four minutes of prolonged eye contact can incur a boost of oxytocin, a chemical that decreases stress and instills positive emotions.

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PANDÆMONIUM (Nichole Canuso Dance Company): 2016 Fringe review 42.2

An exploration of divorce and disconnection in the California desert.

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PANDÆMONIUM (Nichole Canuso Dance Company / Early Morning Opera): 2016 Fringe review 42.1

A testament to what Fringe can do: defy genre, defy theme, defy medium, and somehow still manage to be cohesive and emotionally haunting

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CITIZEN (Reggie Wilson/Fist and Heel Performance Group): 2016 Fringe review 30

Wilson and his dancers beautifully articulate humankind’s desire to belong.

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A Little Bird Who Fucks Everything Up: Interview with Haygen Brice Walker, the new enfant terrible of Philadelphia

Henrik Eger talks to Fringe playwright Haygen Brice Walker of BIRDIE’S PIT STOP (AND THE TRIBE OF QUEERS WHO FUCKED EVERYTHING UP).