The scattered letters piled on the floor are alternately a lover, a tormentor, a terrible reminder, a set of mysterious directives, and a bed for restless dreaming for Ophelia — or rather, one of her three incarnations — as French company Carte Blanche presents its roaming, site-specific riff on Shakespeare’s sad heroine, with inspiration drawn from Arthur Rimbaud’s famous elegy.
 
But despite all those missives from a certain gloomy prince, the piece makes much use of silence too, as the audience mills around the Firehouse at Fort Mason Center, watching the agitated actions of three young heroines in various rooms before being led outside for a journey to other environs.

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Radically refashioning a host of reactionary fashions, La Pocha Nostra Live Art Laboratory puts all borders up for grabs. The international performance art troupe returns to San Francisco Sat/30 for the US premiere of La Pocha Nostra’s latest creation, Corpo Insurrecto 3.0: The Robo-Proletariat.
 
A performance project by Guillermo Gómez-Peña, Roberto Sifuentes, and Erica Mott (with LPN associates Brittany Chavez, Rico Martin, Marcos Nájera, Esther Baker Tarpaga, and Allison Wyper), Corpo Insurrecto 3.0: The Robo-Proletariat asks the time-old question: What might you discover at the intersection of “an aging deviant shaman, a Neo-Aztec priest making romantic religious tableaux with a goat, a flamenco drag king, and an Oil Spill Madonna”?

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