Trina
Pal
Wednesday, May 20, 2020 - 5:32pm
NOSELL

This piece is part of a series on “Art during COVID,” an exploration of art forms to keep our idle minds creative during this pandemic. With many of us at home, our minds have ample time to wander, wonder and create. This series highlights accessible and immersive art forms to both produce and consume during the pandemic months and beyond.

Thursday, May 7, 2020 - 9:14am
NOSELL

This piece is part of a series on “Art during COVID,” an exploration of art forms to keep our idle minds creative during this pandemic. With many of us at home, our minds have ample time to wander, wonder, and create. This series highlights accessible and immersive art forms to both produce and consume during the pandemic months and beyond.

 

Wednesday, April 8, 2020 - 12:41pm
NOSELL

To Matthew Ozawa, director of the University production “A Beautiful Country,” the COVID-19 pandemic has felt like “having the rug ripped from under you.” The intended opening night of “A Beautiful Country” was April 2, but, like so many other productions, the show has been canceled. “It’s been a crushing blow to see so many artists out of work and so many companies on the brink of closing,” Ozawa said.

Monday, April 6, 2020 - 6:28pm
Life at home during COVID-19

Waking up for my 9 a.m. lectures has been considerably harder since classes shifted online. Every dreaded Wednesday and Thursday I drag myself out of bed, mumble good morning to my parents who have been working diligently for two hours already, assemble some breakfast and haul my laptop and meal back upstairs to my room in one trip. I’ve gotten the timing down well — if I wake up at 8:45 a.m., I can do all this and arrive the acceptable five-minutes-late to my Zoom class with a hot cup of coffee in my hands.

Wednesday, March 18, 2020 - 5:12pm
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It’s only been six days since the first coronavirus cases were reported in Michigan, but it feels like an eternity has passed. My heart sinks every time I see another student moving out of their dorm, lugging mattress pads and portable fans across the street to waiting cars. I’ve temporarily moved back home myself and visited Ann Arbor earlier this week to see a ghost town. Empty parking spots were scattered all along South University that should’ve been filled with cars at 1 p.m. on a Monday.

Tuesday, February 18, 2020 - 10:41am
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“Can we be careful of those bells on the floor there?” shouted Malcolm Tulip, assistant professor in the Department of Theatre & Drama and director of “Yerma,” in the middle of my interview. His voice reverberated through the Lydia Mendelssohn Theatre, bouncing off the historic walls with intensity. A student on stage, unfazed, snatched up the golden bundle immediately before turning back to the scene. A Thursday night rehearsal of “Yerma” was in full swing, and gloriously so.

Monday, February 17, 2020 - 1:33pm
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Days after watching “Acasa, My Home,” I still think of a particular introductory shot with fondness. The camera focuses on a small shack in the middle of a flat plain, a rag-tag structure with peeling gray paint and wavering walls. This is the home of the Enache family, a sprawling conglomerate of nine children and two parents. The camera then lifts upward, almost as if it were on a crane, continuing to capture the house below. As the shot widens, we see that the shack is surrounded by rich green foliage and meandering lakes: the Bucharest Delta.

Tuesday, February 11, 2020 - 5:22pm
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My mother thought she was in for a night of flamenco when she agreed to accompany me to “Latin Xpressions” this weekend at the Power Center. Regrettably, she was wrong.

“Latin Xpressions,” an annual show put on by the Department of Dance, featured multiple works choreographed by Spanish or Latin American choreographers as well as School of Music, Theatre & Dance faculty. Performers included guest artists as well as BFA students at the University.

Thursday, February 6, 2020 - 5:35pm
NOSELL

The opening scene of “Minari” is simple yet telling. The Yi family drives their moving truck through rural Arkansas, hesitant disgust on the mother’s face, eager expectation on her husband’s. They stop in the middle of a grassy enclosure and the camera pans to what the family sees — a mobile home, covered in drab gray and brown paint. The children run out, exclaiming, “Look! Our house has wheels!”

Wednesday, February 5, 2020 - 4:03pm
NOSELL

Anabel Rodriguez Ríos — director of “Once Upon a Time in Venezuela,” the first Venezuelan documentary to ever premiere at Sundance — is fairly certain her film will be censored by the Venezuelan government. But she’s willing to climb through hoops to get it the attention it deserves.