My son sits at the desk, knee propped on its edge, keyboard in lap. Nearby, a television bolted to the wall displays a high-definition humanoid, clad in luminous armor inscribed with obscure heraldry, dancing with ecstatic abandon. Were it not odd enough that they are dancing in the lugubrious depths of a biomorphic dreadnaught inhabited by a terrible and hostile alien race intent on destroying the earth and everything upon it, the dance they dance is the “Carlton,” made famous by actor Alfonso...

The theatre only has one chance, when it understands itself as an instrument of deceleration against the general acceleration of life, information and perception. Theatre is the Stone Age, but it can teach you how to see. —Heiner Müller [1] Vegard Vinge and Ida Müller’s performance series, the Ibsen-Saga (2006–), is an extraordinary limit case for staging Henrik Ibsen’s expansive internal temporalities. The Saga uses Ibsen’s works, in the words of Heiner Müller, as “an instrument of deceleration...

It was her mouth, and not yet she, that cried. It was that shadow cried behind her mouth; —William Butler Yeats, At Hawk’s Well (1916) [1] There is a striking moment about two-thirds of the way through Jordan Peele’s satirical horror film Get Out (2016). [2] While visiting his white girlfriend’s family estate for the weekend, the film’s black protagonist Chris Washington (Daniel Kaluuya) is approached by one of the family’s African-American servants, Georgina (Betty Gabriel). At this point in...