History and Evolution of B-Boying with the cast of Opposing Forces
Sat, Oct 25 | 12pm - 3pm
SUGGESTED DONATION: $20 | $12 with a ticket stub
OtB Mainstage Theater
Register with your name and email here.
B-Boying or breakdancing as the media first called it, is a dance form that is as technical, disciplined, and aesthetically vast as Contemporary dance. In order to give an experience of the historical evolution of the dance, each cast member from Opposing Forces will teach 40 mins of their personal approach to Bboying in chronological order of age. Come get a physical taste of the techniques and variations of this awe inspiring dance form.
Fever One: Breaking Foundations
Alfredo "Free" Vergara: Freestyle...
Community Conversation with Marc Bamuthi Joseph and Amy O’Neal
Sun, Oct 26 | 12pm | FREE
The Beacon Massive Monkees Studio
Join us for a special presentation and conversation with choreographer Amy O’Neal and Yerba Buena Center for the Arts Director of Performing Arts Marc Bamuthi Joseph. Using O’Neal’s forthcoming debut of the same name, “Opposing Forces” addresses assumptions and rethinking of B-Boy culture, contemporary dance, gender roles, and other questions of opposition found in this new work. Part of the Project Room’s investigation of the topic of “Transformation”, this program draws on Joseph’s dual expertise as hip hop generation curator and playwright and celebrates the world premiere of O’Neal’s new work.
$20 BUY TICKETS
8PM RECORD RELEASE
8:45 PUMPKIN CONTEST
9PM FILM SCREENING
POST-SHOW COSTUME CONTEST
On the Gourds!
Bring your carved pumpkin to On the Boards by 8PM on the 31st, winning pumpkins will be announced at 8:45. No pumpkins will be carved on site. Pre-carved pumpkins only!
Tune in: Record Release
Celebrate Shredder Orpheus’s Anniverary by taking the newly released soundtrack home! From 8-9 we’ll be playing the album in the lobby and enjoying Halloween drink specials at the Fubar.
Shredder Orpheus features a soundtrack composed by Roland Barker (Blackouts, Ministry), Setatle luminaries including Steven Jesse Bernstein, Megan Murphy, Brian Faker, Gian-Carlo Scandiuzzi, John...
by Shin Yu Pai
I was surprised and fascinated by the unintended Buddhist undercurrents in Germinal. The actors blossom in their awareness of language, perception, and ego – and the role that thought plays in manifesting reality. As the actors divided their experiences into “poc poc” (material) and “not poc poc” (immaterial) and somewhere in between – “ouch and poc poc” (i.e. the suffering of getting hit on the head with a mic), the categorizations began to break down into what human beings are able to attach value to. The joy of being together – i.e. presence, as a formless and empty abstract concept, but one that resonates with the “poc poc” of the heart experience. The moment when Antoine, Hallory, and Ondine join hands on stage and move through love, compassion, embarrassment, and discomfort, was a powerful moment of presence and witnessing and engagement.
The four actors end up in a “skanky swamp” – analogous to the place where the symbol of enlightenment, the lotus flower, blooms. In...
by Anouk Orillon
It started with lights flickering and it gave me the thought that they were having technical difficulties but in fact that was part of the story. Lights led to movements which led to words, French words English words and Japanese words too! The characters were needing to figure out everything in their universe from the beginning and communication was the first thing on the list ! I don't know what else to say except that it was spectacular and made me think about things I have never thought of before. The storyline, the abstract feel of it all. It was truly a wonderful experience.
Anouk Orillon is a 12-year-old grade 7 student at the French American School of Puget Sound. She enjoys writing scripts for her movies.
by Benjamin Orillon
Germinal is a very fertile show that successfully renders the complexity of human kind from a social, science and philosophical perspectives without loosing its sense or non-sense . The humor and “decalage” shade a light tone and contribute to a very celebratory and stimulating performance. The use of both French and English languages looks like rather a fine-tuning of show than an outcome of constraints demonstrating the creators’’ skills to maintain the performance quirky and whimsy.
What a great “trouvaille” to carry on human need for understanding and explaining in such a funny way ; The Poc-poc categorization that works in both languages: abstract, concept, feelings, audience, us…
Germinal ends up using all arrays of drama arts and mingle many cultures and languages to portray a genuine and ideal world! Not sure it was the first intent but it’s a fun and invigorating! En attendant le prochain...
by Jessica Wesley
When Antoine Defoort & Halory Goerger's GERMINAL was described to me, the first thing that came to mind was the book The World Without Us by Alan Weisman, which explores, "How our planet would respond without the relentless pressure of human presence." I imagined our four newly conscious humans perplexedly making their way through the detritus of our once brilliant civilization. I think I may need take a break from reading dystopian fiction...
In actuality, GERMINAL is nearly the reverse, as four human beings discover their own consciousness and begin to explore and shape a brand new universe inside the four walls of the theatre without any preconceived notions or expectations.
Technology was nearly a fifth character in the play, having an invaluable role in the development of this universe. The team of new humans discover their ability to communicate through text and technology first, their thoughts projected on panels on the back wall. They only test the power...
by Vanguard Seattle
"Germinal at On the Boards could be described as 'an acclaimed French play that humorously addresses ontological and epistemological concepts—and teleology—with a minimalist set.' In the parlance of the play itself, it might also be described as 'not poc poc.' In the future, I will simply say it is one of the most refreshing, exuberant and clever explorations of human consciousness I have ever seen on the stage.
Germinal’s absurdly sweet—and largely visual—narrative uses every tool at its disposal in the theatre. Its opening jest uses the house lights themselves to let the audience know a playful omniscience is in control, before plunging into a silent void that begins a journey of discovery and reconciliation. There is no spoken dialog for the first thirty minutes or so, but the room was still full of laughter. By the end of the 90-minute...