Vol. 1, No. 7: Public Performance

When we think of the performing arts in our day — whether dance or drama, opera or orchestra — we may will presume that the encounter requires a visit to a theater. Yet the performing arts, and performance art, are taking to the streets in a wide variety of manifestations. Art is coming to the people, and part of the spectacle includes the happy accidents that are inherent to street performance. In this issue of The Muse Dialogue, we are happy to go to the public places and see what sort of artists are turning to the streets, sidewalks and parks as their venue. Welcome to Vol. 1, No. 7: Public Performance.

Occupy Theater

by Jeffrey Carpenter

Theater is a social art form, and a theater’s success depends more than ever on direct community support. Herein lies the measure of a theater’s relevance as it looks to the future, as well as the seeds of its ultimate salvation or destruction. Jeffrey Carpenter — an actor, director and Artistic Director of Bricolage — contemplates the future of the social crucible that is the art of theater.

Marching to the Beat of a Drum on His Face: An Interview with Jon Brumit, Public Artist

by Kathy Leisen

“Probably the best thing is designing some kind of scenario where everything seems clear or engaging or fun enough for strangers to engage with me, and then to have the space and the time unfold into something else – something unexpected.” Jon Brumit speaks on public performing…while wearing a drum on his face.

Cultural Policy of Public Performance in Taiwan

by Yu-San Cheng

Street performances can be dated back to ancient times and are a phenomenon found around the world. In Chinese culture, street art has been a feature of everyday life for centuries. Performances have not been limited to a specific genre, or geographic location. Over the past few decades in Taiwan, street performances have become increasingly popular, drawing the attention of young audiences – and the government.