Niswonger Test
Subheader From API Test
Monday, September 30
Doors: 11pm // Show: 12am
$5 / Day Of : $5
Aloha Options:
- 2 Person Shared Table
- 4 Person Table
Aloha
The 2 Person Shared Table selection is not a private table. You will be seated with other guests from a separate party at the same table.
Seating is now done by the date and time of the purchase / reservation. You will be assigned tables by purchase date. Reservations that were made under the same first and last name will automatically be seated together. If you wish to sit with another party, you must contact the Box Office in advance.
Purchasing tickets from our official website & Etix is the only way to guarantee your tickets are authentic. Tickets from resellers will not be accepted and you will not be allowed into the show.
Ticket Fee and Sales Tax Applied at All Points of Sale
About the Artist
Rob Little’s outlook on life can be summed-up in two words: Pure Optimism. Rob’s ability to see things in a positive light, coupled with his desire to make people laugh, has served him well. While working in a lucrative position as a computer programmer for IBM, he decided to take a huge risk. The Detroit-born comic sent out an ALL-company e-mail that read, “If you aren’t happy here, quit your job and follow your dream.” Which is exactly what he did! He now enjoys an incredibly successful career as a stand-up comedian along with an impressive and growing portfolio. Having established himself as one of the funniest, most progressive, comedians in the country, it’s easy to understand why The Detroit Free press selected him as the “Best up and Coming Comedian.” Last Comic Standing on NBC named him, “The Happiest Comic in America”. Little uses his training from the world famous Second City Improv Comedy Club to create routines that are inventive, funny, spontaneous, and completely unique!
Aloha Test
Another aspect of performance that grew in popularity in the early 20th century is performance art. The origins of Performance art started with Dada and Russian constructivism groups, focusing on avant-garde poetry readings and live paintings meant to be viewed by an audience. It can be scripted or completely improvised and includes audience participation if desired.[8]
The emergence of abstract expressionism in the 1950s with Jackson Pollock and Willem de Kooning gave way to action painting, a technique that emphasized the dynamic movements of artists as they splattered paint and other media on canvas or glass. For these artists, the motion of putting paint on canvas was just as valuable as the finished painting, and so it was common for artists to document their work in film; such as the short film Jackson Pollock 51(1951), featuring Pollock dripping paint onto a massive canvas on his studio floor.[9] Situationists in France, led by Guy Debord, married avant-garde art with revolutionary politics to incite everyday acts of anarchy. The "Naked City Map" (1957) fragments the 19 sections of Paris, featuring the technique of détournement and abstraction of the traditional environment, deconstructing the geometry and order of a typical city map.
At the New School for Social Research in New York, John Cage and Allan Kaprow became involved in developing happening performance art. These carefully scripted one-off events incorporated the audience into acts of chaos and spontaneity. These happenings challenged traditional art conventions and encouraged artists to carefully consider the role of an audience.[11] In Japan, the 1954 Gutai group led by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Kazuo Shiraga, and Shimamoto Shozo made the materials of art-making come to life with body movement and blurring the line between art and theater. Kazuo Shiraga's Challenging Mud (1955) is a performance of the artist rolling and moving in mud, using their body as the art-making tool, and emphasizing the temporary nature of performance art.
Valie Export, an Austrian artist born Waltraud Lehner, performed "Tap and Touch Cinema" in 1968. She walked around the streets in Vienna during a film festival wearing a styrofoam box with a curtain over her chest. Bystanders were asked to put their hands inside the box and touch her bare chest. This commentary on women sexualization in film focused on the sense of touch rather than sight.[12] Adrian Piper and her performance Catalysis III (1970) featured the artist walking down New York City streets with her outfit painted white and a sign across her chest that said "wet paint.
" She was interested in the invisible social and racial dynamics in America and was determined to encourage civic-mindedness and interruption of the system.[13][14] Carolee Schneemann, American artist, performed Interior Scroll in 1975, where she unrolls Super-8 film "Kitsch's Last Meal" from her genitals. This nude performance contributes to a discourse on femininity, sexualization, and film.
The emergence of abstract expressionism in the 1950s with Jackson Pollock and Willem de Kooning gave way to action painting, a technique that emphasized the dynamic movements of artists as they splattered paint and other media on canvas or glass. For these artists, the motion of putting paint on canvas was just as valuable as the finished painting, and so it was common for artists to document their work in film; such as the short film Jackson Pollock 51(1951), featuring Pollock dripping paint onto a massive canvas on his studio floor.[9] Situationists in France, led by Guy Debord, married avant-garde art with revolutionary politics to incite everyday acts of anarchy. The "Naked City Map" (1957) fragments the 19 sections of Paris, featuring the technique of détournement and abstraction of the traditional environment, deconstructing the geometry and order of a typical city map.
At the New School for Social Research in New York, John Cage and Allan Kaprow became involved in developing happening performance art. These carefully scripted one-off events incorporated the audience into acts of chaos and spontaneity. These happenings challenged traditional art conventions and encouraged artists to carefully consider the role of an audience.[11] In Japan, the 1954 Gutai group led by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Kazuo Shiraga, and Shimamoto Shozo made the materials of art-making come to life with body movement and blurring the line between art and theater. Kazuo Shiraga's Challenging Mud (1955) is a performance of the artist rolling and moving in mud, using their body as the art-making tool, and emphasizing the temporary nature of performance art.
Valie Export, an Austrian artist born Waltraud Lehner, performed "Tap and Touch Cinema" in 1968. She walked around the streets in Vienna during a film festival wearing a styrofoam box with a curtain over her chest. Bystanders were asked to put their hands inside the box and touch her bare chest. This commentary on women sexualization in film focused on the sense of touch rather than sight.[12] Adrian Piper and her performance Catalysis III (1970) featured the artist walking down New York City streets with her outfit painted white and a sign across her chest that said "wet paint.
" She was interested in the invisible social and racial dynamics in America and was determined to encourage civic-mindedness and interruption of the system.[13][14] Carolee Schneemann, American artist, performed Interior Scroll in 1975, where she unrolls Super-8 film "Kitsch's Last Meal" from her genitals. This nude performance contributes to a discourse on femininity, sexualization, and film.
