446 stories from Superfluities Redux
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If a thing is worth doing, goes the saying, it is worth doing well, and this is as true of theatre blogs like this one as it is of everything ...
Unlike the situation in continental Europe, the relationship between Modernism and the English-language stage has always been uneasy. Several “High Modernists” wrote for the stag…
As part of the “Tracing Our Roots” series of discussions at NYU Steinhardt’s Piano Studies program, Marilyn Nonken will offer a unique program focusing on her own career an…
Ah, youth. In 1978, at the green age of 16, I first visited the Public Theater on Lafayette Street on a short weekend trip from my home of Hazleton, PA, for a day of theatregoing that could …
Celan began a long poem in which “what’s real happens.” It was his follow-up to “Todesfuge” and moved deeper into inaccessible terrain. “Engführung”…
I know I’m late to the party, but recently I’ve been enjoying the writings of Ron Rosenbaum, the writer of “narrative nonfiction and essays,” as he describes them, an…
According to John Felstiner, Theodor Adorno considered Paul Celan “the only authentic postwar writer to stand with Samuel Beckett.” [1] (Adorno, Beckett, Celan: there’…
This Saturday at 8.00pm, Marilyn Nonken and Sarah Rothenberg will perform a two-piano version of Igor Stravinsky’s The Rite of Spring (1913) and Olivier Messiaen's Visions de l'Amen (1…
On Friday 3 May and Saturday 4 May at London’s Print Room, members of Howard Barker’s Wrestling School will present readings of four new plays by the dramatist — Concentrat…
Paul Cava’s recent photographs demonstrate the tension between the vulnerable flesh and the solid object, between the body’s freedom and its restraint and encasement in hard pose…
A diversion for Monday: Our friend Izzy Morgana Rabey has recently begun working with Welsh jazz pianist Bill Sutton, and just last month they recorded this version of “God Bless the C…
Well, the series on criticism at Howlround has finally wound its way to the end of its weary week; you’ll find essays by Rob Weinert-Kendt (American Theatre and the New York Times), Ja…
Originally posted on 18 February 2011.
Though he wrote more extensively about it in his English Drama Since 1940, David Ian Rabey first suggested a “New Expressionism” as one of…
As part of the “Tracing Our Roots” series of discussions at NYU Steinhardt’s Piano Studies program, Marilyn Nonken will offer a unique program focusing on her own career an…
Originally published 1 May 2012:
Beneath the known history of Europe there runs a subterranean one. It consists of the fate of the human instincts and passions repressed and distorted by ...
Plays with Films, a collection of three of Richard Foreman’s recent theater texts, is forthcoming from Contra Mundum Press on 30 April, just in time for the opening of Foreman’s …
Perhaps one of the more obvious traits about a few recent non-events in the critical community is that they display what might best be called un-gentlemanliness–that is, they cross the…
Susan Jacoby, The Age of American Unreason. New York: Vintage Books, 2009 (an update of the original hardcover edition published by Pantheon Books in 2008). 357 pages. In 1963, Knopf publish…
Otto Dix. New-Born Baby in Hands (Ursus Dix) (1927). Mixed media on wood.
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Originally posted on 19 October 2010. In his monograph on the music of Arnold Schoenberg [1], Charles Rosen describes one of the composer’s major achievements as “emancipati…
Originally posted on 18 October 2010. In Schopenhauer’s conception of knowledge and the world, mankind is phenomenon par excellence, the object through which subjectivity can be known …
Originally posted on 23 March 2012. One of the responsibilities of criticism in this century is the reclamation of the individual subject, a subject who has been susceptible to undermining a…
As his work has provided inspiration to me before, so is it now; above a montage by Paul Cava, whose work is being celebrated in For Love, an exhibition at the jdc Fine Art gallery this mont…