Students in Wesleyan’s Institute for Curatorial Practice in Performance are adding context to the RoseLee Goldberg–curated Performance Now show. Online reflections include the Walker’s Michèle Steinwald on Jérôme Bel and Abigail Sebaly on Jesper Just.

On Sunday, HBO’s Treme recreated a 2007 production of Waiting for Godot on New Orleans’ streets. That piece, which included Treme’s Wendell Pierce, was staged by artist Paul Chan, who says post-Katrina NOLA reminded him of the void in Samuel Beckett’s 1953 play.

Held by Palestinian police without charge since May 13, theater director Zakaria Zubeidi is on a hunger strike and may die within days. Co-founder of Jenin’s Freedom Theatre, the former militant has renounced armed struggle in favor of cultural resistance.

Arts Council England now has a £15 million fund to help art organizations pay their interns. “Our worry is that we’re simply going to lose a generation of talented young people if we don’t support the sector really practically in creating more opportunities.”

Launching its Carbon 13 show, Ballroom Marfa starts a 3-day symposium on climate change and sustainability Aug. 31 with author Michael Pollan, critic Rebecca Solnit, and theater artist Cynthia Hopkins (who brings a climate-themed work to the Walker in March).

“Rather than attempting to explain why Mark Rothko’s paintings are meaningful [John Logan’s newly opened play Red] shows two people arguing over a roomful of canvases, some finished, some works in progress.”

At Portland’s Time-Based Art Festival, “artists are often in the room and the audience is invited to be in concert with them.” Opening Sept. 6, this year’s edition features Miguel Gutierrez, a Buckminster Fuller film project featuring Yo La Tengo, and more.

France’s unique unemployment benefits for workers in the arts has been deemed financially unsustainable. The system could come to an end in 2013—which, if it does, is expected to spark industry strikes similar to when the bill came under review in 2003.

Habit, a 90-minute theater installation, is coming to New York. The show will be performed in a fully-functioning house repeatedly for eight hours a day and, though the dialogue will be the same for each performance, the staging will be totally improvised.