Saturday May 26, 2018

Performing Arts

The Missing Screen, Part 2

Theater critic Norge Espinoza continues his look at the shifting relationship between Cuban theater and film in the decades since the revolution. In Part 1, he surveyed the 1950s and ’60s. Here, he continues with the 1970s, the theatrical revival of the 1980s and ’90s, and recent developments in the ongoing relationship between Cuban theater and film.

Film and Theater in Cuba: The Missing Screen, Part 1

In Cuba, says theater critic Norge Espinosa, there’s no consistent relationship between the worlds of theater and cinema. In an exclusive two-part essay, Espinosa analyzes the current state of affairs for CAN readers.

Work in Progress: “Cubanacan: A Revolution of Forms”

In 2002, California filmmaker Charles Koppelman came upon Revolution of Forms, a book by architect John Loomis about the design and construction of Cuba’s still-unfinished national art schools, the Instituto Superior de Artes (ISA) in Havana. Now, after a decade of development and experimentation, the opera Cubanacan: A Revolution of Forms is headed for a Havana recording studio.

Pérez in Havana, Urbanitas in Miami, and Bedia, Campos-Pons, and Celaya Closing Soon

Six videos by Marta María Pérez make their Havana debut, Urbanitas gathers an international crowd in Miami, and José Bedia’s 30-year retrospective nears the end of its run in L.A.

In Conversation: Eduardo Arrocha

Eduardo Arrocha, winner of the National Theater Prize, is one of the most active and influential designers working in Cuban theater today. He recently spoke about his career with poet, playwright and critic Norge Espinosa Mendoza.
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