As the fall season has kicked into high gear — certain COVID-19 restrictions, aside — so, too, has UCLA’s Center for the Art of Performance (CAP UCLA), with the return of the Tune In Festival

The L.A. production — part contemporary opera, part crowdsourced performance art, part diorama come to life — is a joint presentation of MOCA, the Hammer Museum and the Center for the Art of Performance at UCLA.

The Plastic Bag Store is an interdisciplinary and immersive art installation of sculpture, film, puppetry, performance and education constructed entirely of recycled packaging waste.

The Plastic Bag Store art installation explores how the massive amounts of plastic waste on Earth might be interpreted by future generations.

I went to the theater. The occasion was “A Thousand Ways (Part Two): An Encounter,” the second offering in a trilogy by the experimental theater troupe 600 Highwaymen that is being presented by UCLA’s Center for the Art of Performance.

What I miss most about alternative theater, the kind of work REDCAT and the Center for the Art of Performance at UCLA specialize in, is the feeling of strange delight.

In addition to changing the program’s name to the Center for the Art of Performance (CAP UCLA), Edmunds has provided a platform for critical innovators in all disciplines of artistic practice.

Ellen Reid listened to music on her iPhone with earbuds in place as she hiked along a trail in Griffith Park. She looks like any other person listening to a personal playlist as they hike — except Reid was composing personal music while she hiked.

Composer and sound artist Ellen Reid has scored this trail carefully, geocoding her original music to exact locations in the park, where visitors can access it on an app.

Now Mac is back with a new show called “Holiday Sauce...Pandemic!” It features characters such as Sexual Consent Santa and a burlesque Baby Jesus. The show is hosted online through UCLA’s Center for Art of Performance, and is available on demand through January 2, 2021. 

Musicians and poets from across the United States, Canada and Latin America will hold court from Oct. 28 through 31 at the Tune In Festival presented by the Center for the Art of Performance, also known as CAP UCLA. 

Constance Hockaday invited 50 artists, including Miranda July, Mel Chin, and Coco Fusco, to deliver a five-minute presidential address.

The mother-and-daughter folksingers Bernice Johnson Reagon and Toshi Reagon wrote songs for a theater piece based on Octavia E. Butler’s 1993 visionary novel about a dystopian Los Angeles in the mid 2020s, a future that we all have the grave responsibility of preventing.

The assistant professor at the UCLA School of Theater, Film and Television examines this relationship in her audio-theater experience “Among Us – UCLA,”which will be presented by UCLA's Center for the Art of Performance. 

In 2018, Pam Tanowitz choreographed T.S. Eliot’s “Four Quartets,” with an original score by Kaija Saariaho and a scenic design that incorporates paintings by Brice Marden. 

Grateful for UCLA’s Center for the Art of Performance’s offering, a thrilled and cultured audience celebrates the vocal stylings of Gregory Porter and his virtuoso jazz band.

Seemingly bolting to overnight stardom with her three-time Screen Actors Guild Award-winning role as Carrie “Big Boo” Black in the Netflix hit series Orange Is the New Black, DeLaria is an artistic force of nature — and one who can also sing. 

Parable of the Sower, a theatrical event to be presented on March 7 by UCLA’s Center for the Art of Performance, is a West Coast premiere — but it’s also a homecoming. A blend of theater and music, the Royce Hall production is based on a pair of novels by the late Octavia E. Butler, a shy African American writer who grew up in Pasadena and took several UCLA Extension courses.

Who said a 78-year-old man couldn’t woo an audience? Certainly not I, nor anyone else in attendance at Aaron Neville’s recent concert at UCLA’s Royce Hall, brought to us courtesy of UCLA’s Center for the Art of Performance (CAP UCLA).

Presented by UCLA’s Center for the Art of Performance, the Joshua Redman Quartet reveals the undeniable genius of Generation X’s most exceptional Jazz Saxophonist