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.

In the 1980s and 1990s, the Walker welcomed performing artists like Bill T. Jones, Karen Finley, and Ron Athey, whose work reflected concerns of the day. In conjunction with the exhibition This Will Have Been: Art, Love & Politics in the 1980s, John Killacky, performing arts curator from 1988 to 1996, shares his memories of Walker performances—and politics—of the era.

After a January Walker performance about cellphones and the Syrian revolution, Beirut-based Rabih Mroué’s new work, presented in Berlin, turns stills from a first-person video of a possibly fatal sniper attack in Syria into an immersive “action memento mori.”

Archaeologists outside London have unearthed remains of The Curtain theater, where Shakespeare’s company performed from 1597 until The Globe opened two years later. Opened in 1577, the theater was discovered behind a Shoreditch pub.

The Walker’s just-announced 2012-13 Performing Arts Season is “like the Neiman Marcus Christmas Book,” writes Pamela Espeland. “You turn the pages, you see a lot of things you want and a few eyebrow-raisers.”

Dubbing it “theatre hacking,” Olivier Choinière’s recent project is raising ire in Montreal: He gave MP3 files to audience members at a Moliere play at the Théâtre du Nouveau Monde, treating them to his wry running commentary on the remounting of classic works.

Eiko and Koma’s trademark meditative pace will be part of the Caravan Project at Maryland’s Clarice Smith Center, but the work’s conclusion sets it apart: performed in a trailer, the duo will hop in a car and drive away, “looking toward summer,” as Eiko says.

In the Arab Spring, “art, music and performance fueled revolution by giving the disenfranchised—the outsiders, the rebels, the refugees, the critics—a second draft to rewrite their country’s cultural memory,” Safa Samiezade’-Yazd writes.