ESSAYS AND REFLECTIONS BEYOND THE NEWS.

OPINION. Editorials on art, culture, and politics in the artists' own terms.

Art, Politics, and Power DYNAMICS.

The Risk of Political Art: How Female Artists Threaten Governments

It’s a fascinating paradox: how can artists—often dismissed as creating mere luxury items with no practical purpose—be considered threats to the state? The answer lies in art’s unique power to bypass rational defenses and speak directly to people’s hearts and minds.

Picture of by SKENE STAFF

by SKENE STAFF

Editorial team

Performance and politics have never been separate. Every casting decision, every season announcement, every choice about whose story gets told and in which language is already a political act. The pieces gathered here make that argument explicitly: essays and criticism examining how art engages with power, how power shapes what art is permitted to do, and what happens when artists push past the boundaries of what is considered acceptable. These are not comfortable pieces. They are not meant to be.

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The State of the Stage.​

Picture of by JOSAFATH REYNOSO

by JOSAFATH REYNOSO

Scenographer

Every season produces moments that demand a response. Awards that reflect the field’s values back at itself. Controversies that reveal what the industry actually believes beneath what it says. Anniversaries that ask whether the work has held up and what it means now, in a context its creators could not have anticipated when they made it.

The pieces gathered here address those moments directly, situating them within the longer arc of performance history and the current pressures shaping the field. They are not news. They are not reviews. They are the kind of writing that takes a cultural event seriously enough to ask what it is actually saying, and what the field’s response to it reveals about where the performing arts are at a particular moment in time.

Process, Practice, and Reflection.

Picture of by JOSAFATH REYNOSO

by JOSAFATH REYNOSO

Scenographer

Practice is where the real arguments happen. Not in manifestos or mission statements, but in the room, in the process, in the moment when a decision has to be made and there is no obvious right answer. The pieces gathered here are written by artists and practitioners who have chosen to examine that territory directly: reflections on how work gets made, how a practice sustains itself over time, and what it costs to keep making things with care and intention in conditions that do not always support it.

They span disciplines, languages, and career stages. Some are personal. Some are structural. Some are written in the aftermath of a production that changed something, or failed to, or did both at once. What they share is a commitment to honesty about the creative process that is rarer than it should be.

These are pieces written from inside the work, by people who believe the field is better for having looked.

Critical Response and Reviews.

Picture of by ROBERTO BOLDINI

by ROBERTO BOLDINI

Theatre technician

Good criticism begins after the applause. When the house lights come up and the audience files out, something has happened that is worth trying to understand, not just rate or recommend. The pieces gathered here take that seriously. They respond to productions, exhibitions, cultural milestones, and the anniversaries that ask us to reconsider work we thought we already knew. They are written by people with strong opinions and the willingness to account for them: critics and practitioners who believe that engaging with performance as a serious art form means saying something more than whether it was worth the ticket price. Context matters here. History matters. The conversation between a work and the moment it appears in matters. These pieces try to hold all of that at once, because the work deserves nothing less.

OPINION pieces appear within curated editorial conversations and may rotate over time. Not all published OPINION articles are actively featured. OPINION reflects Skene’s editorial perspective and critical engagement with the field.

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