Eric Twardzik is a senior writing, literature and publishing major pursuing his BFA in nonfiction. He started at the Beacon in the fall of 2010 covering arts, and is now editor of the opinion section.
Twardzik has also written for The Black Swan, the literary magazine of Emerson College's European Center, profiled Boston-area restaurants and shops for mysecretboston.com, and interned at Culture Magazine. He is currently the editor of Gauge, Emerson's nonifction magazine.
Food is a uniter, a way to share experiences, offer companionship, and express gratitude.
The real problem is why our government is defining marriage, heterosexual or homosexual, to begin with.
In its brief golden age, the e-reader has taught me something. It has made me appreciate print in a way I never could if I hadn’t unwrapped my Kindle that Christmas, or my iPad the next.
It’s a shame that voters won’t see Johnson beside Obama and Romney. If present, Johnson could add a bead of sweat under the other candidates’ collars as he brings up some inconvenient truths.
While Americans look for a cure in fad diets, suspect health products, and other quick-fix cures that saturate the health market, the remedy may lie with the most natural and simple of solutions: mindful eating.
The 2012 presidential election — the first time many current college students will take to the polls— may be the most polarizing race in decades. That’s the impression left by the Pew Research Center’s annual values survey, published in June, which found the deepest divide between Democrats and Republicans in 25 years. Many factors have congealed the grudges that choke Capitol Hill, some blame falls on the over-the-top rhetoric both parties have resorted to, showcased at their conventions in Tampa and Charlotte.
Among cheese plates and chatter, just a stone’s throw from the set of Will & Grace, new books by Emerson faculty waited for their spot on the shelves. Last Thursday, the Iwaski Library hosted its annual Emerson Authors event to honor faculty and staff that had works published in the previous year.
The Cabin in the Woods has quite a few tricks up its sleeve that deviate from what’s become a formula film genre. However, to give us those tricks the film has to wallow too long in the very formula it’s trying to break out of, and the resulting twists never rise above gimmickry.
At a small, specialized school like Emerson, we rely on our peers as much as our professors to create a satisfying classroom experience and develop our education. Nowhere is this more evident than the workshop classes in the writing and film programs.
Vaudeville may be dead, but this weekend it will rise from the grave to haunt the Little Building’s Cabaret.
President M. Lee Pelton narrowed his eyes as he studied a challenge unrelated to the business of running a college: making sense of abstract art.
Last week, eight Emerson comedians formed a stand-up squadron to represent the college at the 5th annual Rooftop Comedy National College Comedy Competition.
On March 11, Shinsai participants worldwide staged short plays connected by Japan’s 2011 earthquake and tsunami to commemorate the one year anniversary of the disaster that claimed almost 16,000 lives.
What makes art? Last Thursday’s premiere of Bakersfield Mist, starring Emerson’s Artist-in-Residence Ken Cheeseman, adds another voice to that debate.
Making great comedy often means breaking rules. Bridesmaids shattered one of mankind’s most sacred tenets in a scene that will go down in film history: girls don’t poop. That, and Jerry Lewis’ infamous thesis that women can’t be funny.
Most movie experiences end with the credit roll, or for remarkable cinema, the moment you push the hand dryer button in the theater bathroom.
The audience filling the cinema seats didn’t come for a movie, but for the three tall men who sat in front of the screen, arranged in a mix of turtlenecks and tweed. The literary threads were fitting; Two of the men form the nonfiction world’s dream team, and the third was a former student who had waited 28 years to host their conversation on writing, editing, and what makes literary relationships tick.
At the monologue showcase Sunday, eight Emerson comedians gathered to tell their stories. And sometimes, storytelling means pretending to vomit a liter of Diet Sprite onstage.
Five dancers stand perfectly aligned at the front of the stage, motionless and silent. Suddenly, they snap their heads to the right, in a rippling fashion. So begins this year’s production of X Dance.
Emerson sophomore Sheldon Brown’s death stare isn’t easy to escape in the close quarters of Green Eyes, which premiered Jan. 18. Foregoing the stage, the characters expose their naked passion and fear in an actual hotel room in the Financial District’s Ames Hotel.
Photojournalist Rick Macomber was at ground zero on 9/11, the beaches of Normandy for the 50th anniversary of D-Day, and Cambodian refugee camps in the wake of the Khmer Rouge. Now he is bringing those images and their stories to the Bright Family Screening room at the Paramount Center.
The art occupying two skinny white floors of the Huret and Spector Gallery is the final product of 400-level visual and media arts class, “What is Contemporary Art?”, taught by Joe Ketner. Ketner, who occupies the Foster Chair in Contemporary Art, sought to provide his 18 students with an answer to the provocative question by leading them through the curating process.
Watching Neher, a performing arts major, direct a rehearsal of student theater troupe Mercutio’s upcoming Fool For Love, illustrates what it means to “coach” actors. The play driving Neher’s manic energy was originally written by American actor and playwright Sam Shepard, and first performed in 1983 at the Magic Theatre in San Francisco.
Moan for Man was the directorial debut of Hannah Tehrani, a performing arts major who had previously only been an actor.
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