Casey Spooner

In The Wooster Group’s HAMLET, Shakespeare’s classic tragedy is re-imagined by mixing and repurposing Richard Burton’s 1964 Broadway production, directed by John Gielgud. The Burton production was recorded in live performance from 17 camera angles and edited into a film that was shown as a special event for only two days in nearly 1,000 movie houses across the U.S. The idea of bringing a live theater experience to thousands of simultaneous viewers in different cities was trumpeted as a new form called “Theatrofilm,” made possible through “the miracle of Electronovision.” The Wooster Group attempts to reverse the process, reconstructing a hypothetical theater piece from the fragmentary evidence of the edited film. We channel the ghost of the legendary 1964 performance, descending into a kind of madness, intentionally replacing our own spirit with the spirit of another.

A girl's obsession with a rock star ends with an unfortunate choice.

Art dealer Salvatore Viviano and director Angela Christlieb embark on a search for the lost artist collective Gelitin, which since the 1990s has shattered the borders of "good taste" again and again with extravagant actions and installations. Interviews with old companions and artist friends in the U.S., Europe, and Asia are linked with anarchically montaged Gelitin archive material: intense, transgressive, experimental, gaudily colorful, funny, and virulent.

This is the tale of three artists who navigate the fashion world: from the front rows at shows to their tiny hotel rooms, constantly on the move, they struggle to thrive in social media culture in a decaying world which is now forced to reinvent itself.

White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.

Rose McGowan, artist and activist, documents the work being done to spread her message of “bravery, art, joy and survival.”