The beginning of “mid90s” is comprised of sudden images cut together. Skateboards, still on the ground, are scattered with a force. A hallway where an older brother pounces on the younger one, pelting him with his fists. And the younger brother — the thirteen year-old boy we will come to know as Stevie — looks in the mirror and pokes at his bruised chest, then punches it, groaning with the pain.
Posts published in “Arts”
Students and their parents took refuge from last Saturday’s rain to enjoy performances by a variety of Smith’s ensemble groups in John M. Greene Hall. “Montage” is sponsored by the Smith music department, and this year’s theme centered around royalty, which came through both in the music and the names of the artists chosen to cover.
Upon opening the doors to the exhibit, you immediately lock eyes with a pale woman in a turquoise robe who looks out from her ornate frame with a small smile. She is one of the few in the gallery who will actually make eye contact with you; the rest of the women gaze demurely at things out of sight as if they are wishing for something their gilded world cannot give them.
“Concinnitas” was a term used by 15th-century scholar and architect Leon Battista Alberti to describe beauty in architecture, which he believed existed when — and only when — parts of a building cohered to a harmonizing whole. It was also used to name The Concinnitas Portfolio, to which Professor Pau Atela responded in his Re(Creations) and MathStudio. Both the portfolio and Atela’s work will be displayed at the University Museum of Contemporary Art at UMass until Dec. 9.
I have a complicated relationship with the word “slam.” Every time I hear the word qualifying some literary event — a poetry reading or a storytelling event — I feel my stomach lurch, as though I caught a whiff of some food that once gave me torrential runs. Not that I only have bad experiences with slams, not at all. But for every poem I’ve heard that revelled in the snap of a word as it rolled off the tongue, for every story I listened to that sparked against the speaker’s animated telling, there were five, ten, fifteen others that made me cringe back into my seat.
HODL! HODL! HODL! Blockchain! Decentralization! These are just some of new terms that will be featured in the museum’s bathroom walls as the Smith Museum…
The theatre department debuted a production of “The Wolves”—a new play by Sarah DeLappe on Friday, Feb. 23.
A finalist for the 2017 Pulitzer Prize Award in Drama, “The Wolves” is taking the theatre world by storm. Directed by Daniel Elihu Kramer, “The Wolves” tells the story about high school girls on a soccer team. This might make you groan, but DeLappe’s play disturbs stereotypical notions about teenage girls.
If you have put yourself through “500 Days of Summer” or watched anything involving Zooey Deschanel, then you know what a “Manic Pixie Dream Girl” is. The term, coined by film critic Nathan Rabin, is a trope. In the words of Lyssandra Norton MFA ’18, a “manic pixie dream girl is extremely quirky, plays the ukulele or a sport, and is weird as fuck.”
In the age of “dick picks,” it can be difficult to view naked choreography as an artform, rather than an exhibition of body parts for the voyeuristic eye. Yet for Jérôme Bel, a French choreographer known for his minimalistic pieces often described as “non-dance,” nudity is a driving force.
With a collision of contemporary and medieval imaginations, The Smith College Department of Theatre presented Heidi Schreck’s play “Creature,” from Oct. 20-21. This production was directed by Isabelle Brown ‘19. From lighting design to set design to costume design, the entire cast and crew was student-led.