At San Francisco’s Legion of Honor, Mobina Nouri took scissors to her own strands and invited others to do the same.

In their MLK Day performance inspired by LaToya Ruby Frazier's photo series, Sister Tour explored the relationship between Black women and water.

A primal, glitter-fueled scream was unleashed with Cyclona, giving birth to generations of queer Chicano performers.

While The 90s Onstage looks back to a dynamic moment in Turkey's performance art scene, Ata Doğruel's "Light Source" reflects on the present.

Speaking and singing in Korean with English subtitles, the cast leans on the traditional Korean folk storytelling tradition of pansori, and more modern musical accompaniment.

In She Who Lives on the Road to War, Rosy Simas combines installation and performance to address the immense losses experienced during the COVID-19 pandemic.

MILK is an immersive, multisensory collaborative performance exploring a somber Greek tale of revenge.

The Terrestrial Trilogy shows how we can — and perhaps cannot — talk about pressing human and environmental emergencies.

When supply chains and funding fall short, theatre does too.

African scholars Felwine Sarr and Dorcy Rugamba seek to answer this question with the musical theatre performance Freedom, I’ll have lived your dream until the very last day.

The art form continues to survive the return of in-person theatre, but maker-performers struggle with a lack of institutional support.

Traces — Speech to African Nations is a spoken word piece with music written by the acclaimed Senegalese scholar and performed by the Burkinabé actor Étienne Minoungou.

Nominated for the Pulitzer Prize, the hybrid film/theatrical production is a dense and irreverent look at the performance of queerness.

The rendition could be a platform for essential conversations on sociohistorical and economic land rights issues.

The experimental film, accompanied by live music, pictures the ecocide that a violently extractive ideology of whiteness produces.

Dobkin caught the attention of critics early on with her quirky and occasionally self-deprecating works, which often center lesbian identity.

What to Send Up When It Goes Down holds Black people at its center, inviting unique moments of commiseration, anger, and helplessness with no apologies.

Launching this month in Los Angeles, Boss Witch will support site-specific performances in Joshua Tree, Mono Lake, and more.

Debuting May 1, McKenzie’s Disturbing the View takes its inspiration from New York’s “squeegee men.”

"EVERYONE WAS INVITED" promises a heartfelt celebration and opportunity to get to know this under-sung yet influential artist.

On Sunday April 11, Patrisse Cullors will be restaging “F*ck White Supremacy, Let’s Get Free” online for a global audience.

Suzanne Lacy and her students suggest that screens can help us become more empathetic and aware of “each other’s practices, and realities.”

HaRaKa Platform’s Cairo KitKat Club pales in comparison to virtual performances mounted with only a fraction of the institutional support.”

The 8-hour online program will debut new works, reimaginings, and collaborations by artists such as Yvonne Rainer, Glenn Kaino, Barbara Kruger, and the WideAwakes.

Starting at Seneca Village and ending at the Manhattan Trump Hotel, artist Dragonfly honored the legacy of Ona Maria Judge Staines, who escaped from George and Martha Washington’s enslavement.

From sunrise to sunset, the Afield will present a new multimedia performance which mines the details and redactions of the Mueller report.

In Fire Season, Monica Miklas invites you to the remnants of Western Town, a faux Wild West village formerly nestled in the Santa Monica Mountains.

No one was as successful at impersonation and forgery as William Ellsworth Robinson, nor has anyone failed as spectacularly.

Having now announced it will close on March 15 (earlier than expected), we might look at exactly why The Inheritance failed to connect with New York audiences.

These plays depict a reality that seems familiar and plausible yet feels dreamlike, monumental, and mythical.

Gerard & Kelly’s performance State of unpacks enduring symbols of nationalism, patriotism, and masculinity.

A performance series that asks, “What is sacredness?”

In Simon Stone's adaptation, the conflict is not cultural but psychological, and viewers can’t help but empathize with her.

For Contract and Release, choreographed by Brendan Fernandes, three dancers assume their positions amid a selection of Noguchi’s works that allude to the human form and proceed to slowly perform a prescribed set of tasks.

At Performa, Huang Po-Chih and Su Hui-Yu each staged theatrical productions concerning collective mourning and memorialization. Yet while Su built upon his own relationship to a story of loss, Huang seemed to impose himself upon someone else’s.

Schaubühne Berlin vividly adapts the author Édouard Louis’s first-person account of the experience of rape and attempted murder.

In its first performances since 1965, the recent Performa revival of Rainer’s Parts of Some Sextets prompts considerations of how we can safeguard the choreographer’s visionary oeuvre while staying true to her vision.

The strength in LaBeija’s Performa debut comes from her ability to use Oskar Shlemmer’s Bauhaus ballet as an outline, while organically combining the talents of people in her community.

In its best moments, Radio Live made the world feel smaller with rich vignettes from lives we might have little intimate access to.

This boldly minimalist production — a co-presentation of FIAF’s Crossing the Line festival, the Invisible Dog Art Center, and The Cooper Union directed by Fanny de Chaillé — revisits a text written for times of upheaval.

The experimental play Manmade Earth, a co-presentation of FIAF’s Crossing the Line festival and The Invisible Dog Art Center, demanded that its audience listen to the experiences and anxieties of adolescents from around the world.

In Opening Night director Cyril Teste and actor Isabelle Adjani went to lengths to present their protagonist with psychological depth and intimacy at FIAF's Crossing the Line festival.

From a monologue on death to a story about a police shootout, Opera Philadelphia’s productions showed us the many things opera can be.

This 24-hour performance resembled a social psych experiment designed to test our patience and desire for change.

Carrie Ahern's Sex Status 2.0 is a performance of desire in all of its expressions — anguished, flirty, direct, sorrowful, desperate, awkward, joyous — and, as such, essential viewing.

Artist Alicia Grullon performs the role of a UN representative for refugees to address the migration crisis at the southern US border.

Through “Junkanooacome” (“Junkanoo is coming” in Jamaican patois), Jodie Lyn-Kee-Chow offers an adaptation of a pan-Caribbean festival with a parade of masked dancers.

Despite a gorgeous, impressively conducted score, David Lang's prisoner of the state felt overstuffed, unsatisfying, and contradictory.

At the Portland Institute for Contemporary Art's Time-Based Art Festival, performances by Mia Habib and Ligia Lewis stood out for their engrossing contributions to the ever-evolving medium.

Veteran musician Onyx Ashanti’s performance prompted larger questions of how personal, cultural works hold value in commodified spaces of leisure, excess and consumption.