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Adam R. Burnett

Adam R. Burnett is a migratory writer mostly based in NYC. For more information visit adamrburnett.com.

Playing in No Man’s Land with The Anthropologists

Every rehearsal room is a reflection, a reflection of values: who is present and whose voice is heard. The construction of the rehearsal room is the delicate and often alchemic work of the director; walking into the room an ethos is immediately shared by the one who leads, and this is a powerful politic.

Exponentially Inclusive: Brooklyn’s January Performance Festival

January in New York is Mardi Gras for contemporary performing arts. For three weeks we battle the viruses we caught over the holidays and face the harsh winter cold to take in as much performance as our wallets can handle.

Reclaiming Cultural Extractions: Safe Harbors Indigenous Collective’s Don't Feed the Indians—A Divine Comedy Pageant!

Over the past decade I’ve spent an increasing amount of time in New Mexico, particularly Albuquerque, where indigenous culture is woven intrinsically into the city which is within a two-hour drive, or less, to seventeen pueblos.

In Dialogue

THE DEFIANT POLITICS OF COLLECTIVITY: The Assembly’s SEAGULLMACHINE

In July of 2011 I attended a production called HOME/SICK at the old Collapsable Hole in Williamsburg. It was sweltering hot, the humidity was unbearable, and in the hallucinogenic haze of heat, I was enraptured by the lucid storytelling and clean, but dangerous, theatricality of The Assembly. I was hooked and have continued to follow their work over the years.

Gently Abandoning the Theater: Martina Potratz

Downtown theater has experienced a diaspora in the past decade, sending companies and venues further out in the boroughs, to neighborhoods that once would have never been considered as viable.

Entertaining Marx in the Machine of Capital

Within days of the On Your Marx Festival’s press release going public, the internet was abuzz and The Skirball Center’s twitter account had garnered multiple responses from individuals coloring the institution, housed at NYU, as a propagator of brainwashing communism into the student body. But this is 2018, and this is where we are, this is what happens. And on the 200th anniversary of Karl Marx birthday (on May 5th, actually) we might bemuse the thought, “What would Marx think about all this?”

Is this the real life? Is this just fantasy?
OZET Lands at The Brick

Upon first witnessing this work in 2012 I was immediately disoriented by the specificity of the world. As if walking in on the middle of the narrative, I kept asking myself, “Am I missing something?” Not that I didn’t feel cared for, but that, by design, it didn’t matter which part of the story I entered—the audience is a welcome addition at any point in the ever-expanding world of the OZET.

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The Brooklyn Rail

JUL-AUG 2020

All Issues