ABOUT SKENE.
I started Skene because I needed it to exist—not just for me, but for the makers, designers, and performers whose artistry and ideas often go unrecognized. Theatre is ephemeral, but its process, philosophy, and labor deserve to be remembered. Too often, actors are reduced to characters, designers become footnotes, and groundbreaking creative visions are lost in show reviews and press releases. I longed for a space where deep, thoughtful conversations about craft and process could thrive—not just a publication, but a community. Skene is that space: a living archive, a dialogue about performance in all its poetry and complexity, and a home for the voices shaping its future.
Architect and designer specializing in architectural visualization, with a background spanning design, retail, and digital tools. He reviews the tech and gear that performing arts practitioners actually use.
Actress, playwright, and director whose stage work unfolds at the intersection of physical research, dramatic writing, and collective creation. She brings a performer’s eye to everything she edits.
Props designer and professor at Pace University whose credits include Hamilton, Fun Home, and Bloody Bloody Andrew Jackson at the Public Theater. He writes about craft, old-world making, and the art of the prop.
Multidisciplinary artist and art director specializing in sustainability applied to design, working across theatre, fashion, and cultural events. She writes about creative practice, process, and the economics of making.
Dancer, actor, and theatre-maker with fifteen years of experience exploring movement and live performance. He writes about the body, storytelling, and the cultures shaping contemporary performance.
Scenographer with over twenty years of experience in theatre, dance, and opera, and a long-time collaborator of set designer Arturo Nava. She writes about space, light, and the fundamentals of scenic design.
Scenographer and theatre researcher specializing in art history, currently working as wardrobe technician for Cirque du Soleil’s Joyà in Mexico. She writes about scenography, archives, and performance in cultural context.
Multi-genre writer of fiction and creative non-fiction with a degree in theatre from Columbia University and an MFA in Creative Writing from Sarah Lawrence College. She writes about performance, identity, and stories at the intersection.
Architect and scenographer with credits across theatre, opera, dance, and film. He writes about design practice, international collaboration, and the intersection of architecture and performance.
Director, playwright, actress, musician, and photographer with twenty years in the performing arts. Her work and writing explore migration, collective memory, and theatre as resistance.
Opera theatre technician and writer with an academic background in set design, based in Italy. He covers performance, costume history, and the visual cultures of opera and live art.
Award-winning costume, stage, and lighting designer whose work spans theatre, opera, dance, and film, and recipient of the Best Costume Design Award at Mexico’s 4th Design Biennial. She reports on design across Mexico.
Costume and scenic designer whose work explores identity, queerness, and transformation through drag and theatre. He reports on design practice and emerging voices in performance.
Projection designer working across 2D and 3D media for live performance, originally from South Korea and now based in New York. She reports on technology, digital design, and the expanding visual language of the stage.
Psychology student and researcher whose work at Skene produced the 2026 Performing Arts Survival Guide. She bridges Skene’s editorial team and Latin American artistic communities as Arts Research & Creative Planning Fellow.
Digital Media Manager who has an academic background in scenic and lighting design, with a focus in immersive theatre. She will bring her ability to capture true identity, community, and artistic skills as the Digital Marketing & Strategy Fellow.
To document the work, elevate the makers, and build a platform where the global performing arts field can see itself clearly, and speak for itself.
A world where every artist who shapes live performance has a record of their work, a community around their practice, and a platform that takes them seriously.
The work comes first. The field is bigger than any single discipline, country, or career stage. Documentation is an act of respect. Community is built through honest conversation.
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