Events

This year, we are thrilled to offer 9 Commissioned Premieres and 6 supported Creative Residencies including partnerships with Abrons Arts Center, Live Art Development Agency (London, UK), Fusebox Festival (Austin, TX), Portland Institute of Contemporary Art, Contemporary Arts Center of Cincinnati, Sophiensaele (Berlin, Germany), Temperance Hall (Melbourne, Australia), Kaufman Astoria Studios and American Realness.

Current Season

Im gonna need another one is a solo performance which troubles ideas of home as the place of origin and the authentic self. Using the theatrical gesture of a monologue, Rosenblit stands in as multiple figures: from a Sous Chef, to Chiron: from Greek mythology the almost-human-almost-god known for the wound on his animal leg, a Wheat Farmer, a Soldier, Dorothy from The Wizard of Oz, and a Compulsive Re-arranger of Furniture.
The first phase of a multi-year creative exchange (supported by the Australia Council) with Melbourne-based artist Phillip Adams and his recently launched venue Temperance Hall, supporting new collaborations between Australia and NYC-based artists. This process will culminate in a NY premiere at The Chocolate Factory in 2020.
Upcoming screening: Baryshnikov Arts Center, February 7 2019. Screamers is a 75-minute feature film created and performed by members of the experimental dance, theater and performance communities – including dancers, choreographers, directors and performing arts curators. A kind of conceptual ghost story, Screamers was conceived during a year-long residency at a former Catholic Church owned by the artist Dan Hurlin in Stuyvesant, NY – and was subsequently filmed over the course of two weeks in September 2015, with additional filming in the Playhouse at Abrons Arts Center.
In the year preceding this performance, Lauren Bakst has been looking at her life as an object of study. This practice has inevitably transformed her life into a kind of fiction or theater, and it is this theater from which More Problems with Form emerges. Studying her own performances inside of pre-existing forms, in which she has at times played the roles of wife, woman, dancer, audience member, analysand, and many others, Lauren asks: when does performing, in life and on stage, make space for the unwieldy contradictions of living and desiring, and when does it hold things, like bodies, people, and ideologies, in place?
My performance practice commits to formalism as a tool for structural reclamation utilized as an organizing system and ideology to observe and hold space for wild and other’d bodies. Pattern making becomes a survival skill to locate self, others and situation within chaotic systems. Mathematical and mapped scores support bodies bleeding human truths, opening peep holes and revelations for collective performers and audiences. I source from the in-between spaces of my mixed-race body, my slippery transgender body, the in-between planes of ritual spiritual practice, and the in-between transitions of death and dying, witnessed in my practice as a new nurse.