Today, I have aspirations of being a screenwriter — and Aaron Sorkin’s ‘The Social Network’ is precisely the reason why.
A stand-up comedian who has recently performed at the 2019 Edinburgh Festival Fringe and is about to embark on his 2020 Gay But Not Too Fabulous national tour, Zimmerman discussed his journey as a performing artist and the Princeton experience.
A closer examination of the politics of “Parasite” and its Oscar success reveals the extremity of Western culture’s global influence and Hollywood’s domination of the film industry, and it inadvertently sets a standard for foreign countries that desire inclusion in the glamour and prestige of the Academy Awards.
Screened at the James Stewart theater, the short films ranged across documentary, animation and experimental genres. Despite the stylistic diversity, all four works explored time, particularly in relation to family and the complications of intergenerational relationships.
The Lewis Center for the Arts’ Program in Theater will present the first full English-language production of “Sister Mok-rahn,” a critically acclaimed contemporary Korean play written by Eunsung Kim and translated by Dayoung Jeong. The production is the senior thesis project of Jenny Kim ’20, who provided dramaturgy, lighting design, and set design, while Carol Lee ’20 plays the title character, Jo Mok-rahn.
Matthews Theatre transforms into a haunted playground for humans and monsters alike. There is no telling who or what might suddenly leap from a balcony or crawl out from under the floor.
Spann said she was open to holding future evenings of live Tiger Confessions, so long as the demand is there for it. I, for one, would be very excited to see where these ideas lead, as “Tiger Confessions: An Evening of Song and Dramatic Reading” was a wonderful way to blow off some steam at the end of a week of classes and enjoy the start of the weekend.
On May 2, Princeton University Art Museum’s conservator, Bart J.C. Devolder, delivered this year’s Friends Annual Mary Pitcairn Keating Lecture: “A New Day for Art Conservation at the Art Museum.” During his talk, Devolder outlined the past, present, and future of conservation at the museum, shedding light on his own role in this trajectory.
For the hundreds of audience members present that afternoon, the maestro had delivered a generous helping of magical pixie dust, an awe-inspiring closure to a whirlwind residency that did not disappoint.
diSiac excels at pulling off choreography that appears so fluid and impulsive that it’s hard to believe it’s choreographed at all.
Richen’s work is informative, personal, and poignant, bringing home the importance of remembering the “Green Book,“ the history that made it necessary, and the black-owned businesses it showcased. And maybe it doesn’t have an Oscar, but it preserves a history that the actual award winner uses as little more than a title and a decoration in the passenger seat.
Juggling, belly dancing, stepping, saxophone playing, and puppetry all came together at the Berlind Theatre this past weekend in a lively production of “The Odyssey” — a musical adaptation of Homer’s famous epic poem. The production, Victoria Davidjohn ’19 and Annabel Barry’s ’19 theater thesis, completed a four-show run with sold-out performances and over 40 Princeton students sharing the stage.
With ¡Qué Horror!, Más Flow danced a line between celebration and contemplation. Both its successes and shortcomings push campus culture to engage with issues such as domestic abuse in ways that go beyond the theoretical to consider personal impact.
Despite the comedic quirks in “Russian Doll,” a newly released Netflix series, the program stuns with serious reflections about mortality, self-love, and becoming a better person.
A fitting place, therefore, for Roaring 20’s annual “jam,” which intertwined some of Princeton’s best offerings, from a capella, dance, and comedy. The unique show included performances from Quipfire, BodyHype and diSiac, all squeezed into the span of 100 minutes.
What boosts ticket sales? Prestige. Dance companies understand that your time and financial resources are limited, so we want you to spend them on our show. We need you to care because that’s how we survive. In the spring there are multiple shows every weekend, and we want you to know that ours is the best.
real lies is produced in a place where high points feel great and low points can feel like the worst thing ever. But the show’s colorful and full-bodied message helps us better understand the balance between pleasure and pain.
This weekend, student directors Sarah Varghese ‘19 and Evie Elson ‘19 brought Eve Ensler’s 1996 play “The Vagina Monologues,” a series of fifteen monologues, to life at Princeton University.
This fall show was the type of performance that makes you want to dance in your seat and forget where you are entirely. This dance company was not afraid to take unexpected risks and fully realize them. BodyHype was doing its own thing, but with such an eclectic show also managed to do practically everything in “Fahrenheit.”
