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by conversations with spectators, in parks and community centers in New York City. She is currently writing a play for the Undermain Theatre in Dallas and is Professor of Theatre and Performance at Purchase College, SUNY. www.lenorachampagne.com Eric Ehn Nicely knotted; notable nots; interstices—lots, empty as apt: diligent ellipses. She makes good spaces (absents actively), but the lacunae are more than nega- tive shunts, more than arch ways of getting from here to there. Her mysteries, languors, her withheld breaths are dramatic and gorgeous—phenomenal nothings that charge direct experiences. In her scripts, the un-shown is rich in its own right . . . Watching a character wait, listening with characters for what they don’t yet hear, quark out dramatic instances for which conventional vocabularies are inadequate, and even unnecessary. Her ghosts and demons, oppressions and graces, are known by what they follow and effect. Rage and desire do not get the best of her. Politics evade reduction into pro- scriptive agenda; her leanings (tilts challenging balance) respect the mysteries of gravity. She suggests ways to tend that don’t proceed laterally from conscious will, but constitute as a tangle of personal forces (strong in their immediacy and weak in their
PAJ: A Journal of Performance and Art – MIT Press
Published: May 1, 2019
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