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Tei Blow
I follow people I disagree with.
Thanks for applauding for Chumby at @catchperfseries I fully dissociated like when I’m scrolling the NYFA website
Karaoke by TEI BLOW (ROKE) + DJ ROB THE RICH !
The Peoples Karaoke/ROKE have been hosting face-melting karaoke since 2013. They will be reuniting on the eve of CATCH with Claudette, their nubile karaoke supercomputer in honor of Caleb’s 27th birthday.
CATCH 81 @ LIFE WORLD 5/2/26
$20 at door
Karaoke by TEI BLOW (ROKE) + DJ ROB THE RICH !
The Peoples Karaoke/ROKE have been hosting face-melting karaoke since 2013. They will be reuniting on the eve of CATCH with Claudette, their nubile karaoke supercomputer in honor of Caleb’s 27th birthday.
CATCH 81 @ LIFE WORLD 5/2/26
$20 at door
Happy New Year
May all beings be free of suffering
@jonimitchell #cargocult #newyears
MARIA BARANOVA !
79-93
In this audio-visual installation, memory is not a static archive but a living, shifting terrain - one shaped and reshaped by the interplay of sound and image.
The work orchestrates a dialogue between found and personal slides, projected through layers of color gels, and an immersive soundscape that blurs the boundaries between recollection and invention.
Sound Design by Tei Blow.
🌐 mariabaranova.com
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CATCH 79
6pm Saturday 13 September
at the Chocolate Factory Theater
🎟️ $20 at the door
MARIA BARANOVA !
79-93
In this audio-visual installation, memory is not a static archive but a living, shifting terrain - one shaped and reshaped by the interplay of sound and image.
The work orchestrates a dialogue between found and personal slides, projected through layers of color gels, and an immersive soundscape that blurs the boundaries between recollection and invention.
Sound Design by Tei Blow.
🌐 mariabaranova.com
–
CATCH 79
6pm Saturday 13 September
at the Chocolate Factory Theater
🎟️ $20 at the door
MARIA BARANOVA !
79-93
In this audio-visual installation, memory is not a static archive but a living, shifting terrain - one shaped and reshaped by the interplay of sound and image.
The work orchestrates a dialogue between found and personal slides, projected through layers of color gels, and an immersive soundscape that blurs the boundaries between recollection and invention.
Sound Design by Tei Blow.
🌐 mariabaranova.com
–
CATCH 79
6pm Saturday 13 September
at the Chocolate Factory Theater
🎟️ $20 at the door
In 1997 my dad took me to see Richard Foreman’s regional theater commission, Pearls for Pigs. It featured David Patrick Kelly and over the course of two hours nearly 3/4 of the audience left.Actors delivering hypnotically intoned speech; looping minidisc players continuously sputteringfragments of sampled material; destructions of theatrical language that were so disorienting. The ultimate effect of this however felt like I was watching living people onstage and accompanied by the design layers that illustrated the internal spaces of everyonein the piece, in the audience, in the universe. It was a diagonal slicing of human experience. And It was the single most influential moment of theater in my life. I thought holy moley outside of Connecticut maybe everything would be like this in the professional theater! When I returned to design my first show at @hartfordstage with @bigdancetheater in 2010, a member of the production team randomly said “Pearls for Pigs” to his coworker while we were in a production meeting.I asked him what he meant by that since he couldn’t possibly have been at the show. He replied that it was a saying they had around the office when the play is too weird and nobody gets it.
It’s a dream to be so iconic that people without imagination use your name and work as an expression that shows their small mindedness. Long live restless Richard Foreman.End of play.
In 1997 my dad took me to see Richard Foreman’s regional theater commission, Pearls for Pigs. It featured David Patrick Kelly and over the course of two hours nearly 3/4 of the audience left.Actors delivering hypnotically intoned speech; looping minidisc players continuously sputteringfragments of sampled material; destructions of theatrical language that were so disorienting. The ultimate effect of this however felt like I was watching living people onstage and accompanied by the design layers that illustrated the internal spaces of everyonein the piece, in the audience, in the universe. It was a diagonal slicing of human experience. And It was the single most influential moment of theater in my life. I thought holy moley outside of Connecticut maybe everything would be like this in the professional theater! When I returned to design my first show at @hartfordstage with @bigdancetheater in 2010, a member of the production team randomly said “Pearls for Pigs” to his coworker while we were in a production meeting.I asked him what he meant by that since he couldn’t possibly have been at the show. He replied that it was a saying they had around the office when the play is too weird and nobody gets it.
It’s a dream to be so iconic that people without imagination use your name and work as an expression that shows their small mindedness. Long live restless Richard Foreman.End of play.
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