Kristy Edmunds has been the executive and artistic director for the Center for the Art of Performance at UCLA since 2011. She brought with her to the university a view of the arts as a vital part of how societies create a sense of cultural memory. "Artists stretch the fence line of what's familiar to us," says Edmunds. They pull us from our daily lives and help us understand other people.
At CAP UCLA, Edmunds doesn't just pick the artists and performers who will take the Royce Hall stage, she also connects those artists with university resources to help both parties deepen their understanding of the world at large.
Here's my conversation with Kristy Edmunds about the vibrancy of the arts in Los Angeles, highlights from this CAP UCLA season and why she's been spending so much time in Philadelphia:
More information about the program Edmunds says she'll looking ...
Ana Maria Alvarez founded CONTRA-TIEMPO: Urban Latin Dance Theater in 2005. The name means "against time," a reflection of Alvarez's desire to make dance works that create contrast with the world around the piece.
A new work Agua Furiosa, opened this week at UCLA's Glorya Kaufman Theater (you can see it there through January 24th). Alvarez says it's a counter-narrative to Shakespeare's The Tempest, and about how water can act as an equalizer, since it's one of the human necessities we all have in common.
She spoke with Art Alive's Sheila Tepper:
Photo by Susie Goodman
Video shot & edited by Kathleen Schenck
When Janet Sternburg was young, she didn't think it was unusual that two of her family members had been treated for mental illness with lobotomies. As an adult, however, she started asking questions. KUSC's Kelsey McConnell spoke with Sternburg about her journey through family and medical history and how she brought it all together in the memoir "White Matter."
Hopscotch, from LA's experimental opera company The Industry, plays out with the audience traveling to unknown destinations throughout Los Angeles. The action unfolds both inside and outside the car, along three routes (Red, Green and Yellow) with eight "chapters" per route. Each chapter lasts ten minutes and the audience experiences them unsequentially.
Tickets are required to travel the routes (and the opera runs until November 22nd), but anyone can go to the Central Hub, open in Downtown Los Angeles Saturdays and Sundays from 12:30-4, to watch all the chapters play out via livestream (and for free). This weekend, visitors to the Central Hub have a chance to win discounted tickets to live performances the weekend of November 14th and 15th.
To hear about the production from The Industry's founder Yuval Sharon, click here for his recent interview on KUSC's Arts Alive.
We also spoke with Industry Music Director Marc Lowenstein about ...
Next up for LA Opera is a production of Jake Heggie's Moby Dick, and it's a technical challenge as much as an artistic one. We visited the Dorothy Chandler Pavilion while the crew was getting the stage ready. LA Opera's Technical Director Jeff Kleeman, and Senior Director of Production Rupert Hemmings gave us a taste of what goes into pulling off a show with sophisticated projections, special effects and stunts. Here's our conversation:
Photos and video by Susie Goodman