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April 24

Two Days with Hans-Thies Lehmann Day #2

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April 23 & April 24
Segal Theatre
Discussions + All Day Screenings

FREE + Open to public. First come, first served.

Join us for two evenings with German theatre researcher and author Hans-Thies Lehmann. His highly influential publication, Postdramatic Theatre (Routledge, 2006), established the modern visage of avant-garde theatre by cataloguing and defining the tendencies and stylistic traits of experimental works since the end of the 1960s. Scholars and colleagues Marvin Carlson, Elinor Fuchs, Brandon Woolf, John Jesurun, Uwe Mengel, Molly Davies, Peter Eckersall, Jonathan Kalb, Carol Martin, Melissa Wansin Wong, and Frank Hentschker will join Lehmann in discussion throughout the sessions.

Monday, April 23

Daytime screenings of excerpts from works by:

Robert Wilson
The Wooster Group
John Jesurun
Jan Lauwers
Romeo Castellucci
She She Pop
René Pollesch

10:00am Robert Wilson – The Civil Wars (1984)
11:00am The Wooster Group – Brace Up! (1991/2003)
                  To You, The Birdie! ( Phèdre) (2002)
12:00pm John Jesurun – Shatterhand Massacree – Riderless Horse (1985)
Black Maria (1987)
1:00pm Jan Lauwers & Needcompany: The Deer House (2008)
2:00pm Romeo Castellucci – Orestea (2015)
 Giulio Cesare Spared Parts (1997)
3:00pm She She Pop (with ihre Väter) – TESTAMENT (2010)
4:00pm René Pollesch – Stadt als Beute (City as Prey) (2005)
5:00pm Tadeusz Kantor – Dead Class (1975)

Evening Discussion:
6:30pm Postdramatic Theatre and the 21 Century
Hans-Thies Lehmann

7:00pm New Forms of Theatre – Conversation I
Uwe Mengel, John Jesurun, Molly Davies & Hans-Thies Lehmann

7:20pm Performance in the Age of Performance – Conversation II
Bertie Ferdman, André Lepecki & Hans-Thies Lehmann

7:40pm Dramaturgy and Asian Theatres – Conversation III
Peter Eckersall, Melissa Wansin Wong & Hans-Thies Lehmann


Tuesday, April 24

Daytime screenings of excerpts from works by:

Tadeusz Kantor
Théatre du Soleil/Ariane Mnouchkine
Klaus Michael Grüber
Einar Schleef
Angelus Novus
Jan Fabre

11:00am Ariane Mnouchkine/Théatre du Soleil – 1789 (1970)
Henri IV (1982)
12:00pm Klaus Michael Grüber – Die Bakchen (The Bacchae) (1974)
1:00pm Einar Schleef – Faust (1990)
Ein Sportstuck (by Elfriede Jelinek, 1998)
2:00pm Jan Fabre/Troubleyn – The Power of Theatrical Madness (1986, revived 2012)
Mount Olympus (2016)
3:00pm andcompany & Co. – Colonial Digital: The Empire Feeds Back! (2018)
4:00pm Rimini Protokoll – Wallenstein (2005)
Prometheus in Athens (2010)
5:00pm Gob Squad – Western Society (2013)

Evening Discussion:
6:30pm On Tragedy
Hans-Thies Lehmann

7:00pm On Writing – Conversation I
Elinor Fuchs, Jonathan Kalb & Hans-Thies Lehmann

7:20pm Theater of the Real – Conversation II
Marvin Carlson, Carol Martin & Hans-Thies Lehmann

7:40pm German Theatre and the Giessen Institut – Conversation III
Brandon Woolf, Frank Hentschker & Hans-Thies Lehmann

Special thanks to Richard Schechner and Yale University’s Department of Germanic Languages and Literatures (Katrin Trüstedt and Christian Kirchmeier).


Hans-Thies Lehmann is a professor emeritus for Theatre, Film, and Media Studies at the Johann Wolfgang Goethe-Universität Frankfurt am Main from 1988 until he was given emeritus status. His publications include Bertolt Brecht’s Hauspostille–Text und kollektives Lesen (1978, with Helmut Lethen); Theater und Mythos. Die Konstitution des Subjekts im Diskurs der antiken Tragödie (1991); Postdramatisches Theater (1999, now a standard work and translated into 26 languages); Heiner Müller Handbuch (ed. with Patrick Primavesi, 2003); and Tragödie und dramatisches Theater (Routledge, 2013). Hans-Thies Lehmann first studied general and comparative literary studies in Berlin and studied for his doctorate with Peter Szondi until his death. After gaining his doctorate, he was a visiting professor at the Universiteit van Amsterdam from 1979 to 1982. From 1983 to 1988, he was a university assistant at the Institute for Applied Theatre Studies in Gießen, where he substantially contributed to establishing and shaping the course of study with colleague Andzej Wirth. As a university professor for theatre studies at the J. W. Goethe-Universität Frankfurt/Main he made a remarkable contribution in devising theatre, film, and music studies courses, as well as establishing a course on dramaturgy in the framework of the Hessische Theaterakademie. In addition to guest professorships in Paris (France), Kaunas (Lithuania), Kraków (Poland), and Virginia (USA), Lehmann also works as a dramaturg for Jossi Wieler, Peter Palitzsch, Christof Nel, Theodoros Terzopoulos, Jan Fabre, and produces his own stage projects. He is on the board of the Gesellschaft für Theaterwissenschaft and a member of the Deutsche Akademie der Künste in Berlin. Hans-Thies Lehmann lives in Berlin with theatre critic Helen Varopoulou.

Start: Apr 24, 2018
End: Apr 24, 2018
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April 30

Re-Reading Oppression: One-act plays by Amiri Baraka, Harold Pinter, and Salah Abdul-Saboor

Photo by Salma S. Zohdi

Monday, April 30
Segal Theatre

5:30pm, 6:30pm, 7:30pm Readings + Discussion

FREE + Open to public. First come, first served.

With oppressive regimes regenerating themselves by applying practices commonly undertaken by dictatorships, the power of art remains an essential force that motivates the masses to resist and fight against the normalization of such abusive practices. Join us for a mini-festival that aims to analyze and track the dynamics of oppression, discrimination, and abuse when portrayed by three significant playwrights from the U.S., England, and Egypt. All readings will be followed by a brief conversation, and the event will conclude with a panel discussion and a Q&A with the directors, Frank Hentschker, Marvin Carlson, and more. Concept and dramaturgy by Salma S. Zohdi.

5:30pm by LeRoi Jones/Amiri Baraka’s Dutchman (1964)
Directed by Kareem Fahmy

A powerful one-act drama, Dutchman is set on a New York subway train, the play is a searing two-character confrontation that begins playfully, but builds rapidly in suspense and symbolic resonance.

“Dutchman” is presented by special arrangement with SAMUEL FRENCH, INC.

6:30pm Harold Pinter’s One for the Road (1984) – TBC
Directed by NJ Agwuna

Considered by Frank Rich as Pinter’s “statement about the human rights abuses of totalitarian governments”. The play is set in a room, during the course of one day, where family of three–a father, mother, and a child–are interrogated and tortured.

“One for the Road” is presented by special arrangement with Dramatists Play Service, Inc., New York.

7:30pm Salah Abdul-Saboor’s Night Traveller (1969)
Directed by Robin A. Eriksen & translated by M.M. Enani.

A black comedy set in a train heading to an unknown destination with three main characters: Narrator, Passenger, and Conductor. Throughout this absurdist narrative, the Conductor manipulates the Passenger’s identity by playing mind games and exerting oppressive practices.

This event is curated by dramaturg and Segal Center’s 2017/18 Next Generation Fellow Salma S. Zohdi, in collaboration with director Robin A. Eriksen.

Special thanks to Ira Dworkin, Walid El Hamamsy, M.M. Enani, and Moataza Salah Abdel Sabour.


Salah Abdul-Saboor is a pioneer of modern Arabic poetry, he and other Arab poets laid the foundation of a new school of Arabic poetry. They formulated their own experience in new authentic, creative patterns. In his early youth, he tried to find a new significance beyond rhetoric eloquent expression, attending to approach other realms of arts such as music and painting. In 1957, his first collection of poems People in my Country was published, shooting the poet into fame. Abdul-Saboor’s literature was not confined to poetry, but rather extended to poetic drama. Within a period of ten years, he had five poetic plays published. The first was The Tragedy of Al-Hallaj (1965), for which he was granted the State Incentive Award for Theatre in 1966. In addition to poetry and poetic drama, the great poet also practiced critical writing. Abdel Sabour was a follower of the free art which viewed art as an expression of unbridled imaginativeness and true, vehement emotions, within a highly romantic context. He believed that genuine poetry could be written only through absolute self-communion; he remained faithful to his own principles all his life until his death on August 14, 1981.


Amiri Baraka (LeRoi Jones) is one of the most respected and widely published African-American writers. With the beginning of Black Civil Rights Movements during the sixties, Baraka explored the anger of African-Americans and used his writings as a weapon against racism. He is also the author of over 40 books of essays, poems, drama, and music history and criticism, a poet icon and revolutionary political activist who has recited poetry and lectured on cultural and political issues extensively in the USA, the Caribbean, Africa, and Europe. With influences on his work ranging from musical orishas such as Ornette Coleman, John Coltrane, Thelonius Monk, and Sun Ra to the Cuban Revolution, Malcolm X and world revolutionary movements, Baraka is renowned as the founder of the Black Arts Movement in Harlem in the 1960s that became, though short-lived, the virtual blueprint for a new American theater aesthetics. The movement and his published and performance work, such as the signature study on African-American music, Blues People (1963) and the play Dutchman (1963) practically seeded “the cultural corollary to black nationalism” of that revolutionary American milieu.


Harold Pinter was a Nobel Prize-winning British playwright, screenwriter, director and actor. Harold Pinter is generally seen as the foremost representative of British drama in the second half of the 20th century. That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: “Pinteresque”. Pinter made his playwriting debut in 1957 with The Room, presented in Bristol. Other early plays were The Birthday Party (1957), at first a fiasco of legendary dimensions but later one of his most performed plays, and The Dumb Waiter (1957). His conclusive breakthrough came with The Caretaker (1959), followed by The Homecoming (1964) and other plays. It is said of Harold Pinter that following an initial period of psychological realism he proceeded to a second, more lyrical phase with plays such as Landscape (1967) and Silence (1968) and finally to a third, political phase with One for the Road (1984), Mountain Language (1988), The New World Order(1991) and other plays. Since 1973, Pinter has won recognition as a fighter for human rights, alongside his writing. He has often taken stands seen as controversial.


Photo by Matthew Dunivan

Robin A. Eriksen is a Norwegian director working both in the US and Norway. He’s a trained actor from the American Academy of Dramatic arts, has a bachelors degree in Theatre Studies from the University of Oslo, as well as an MFA in Directing from Columbia University. After years working in theatre he’s found his passion in directing for the stage; deep diving into different dramatic texts, composing living images, and communicating with actors and designers. This spring he will be working on four new plays, as well as directing and leading the design process for a new show at Dyreparken i Kristiansand, Norways largest tourist attraction.


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NJ Agwuna (Director) is a freelance theater/ film director and actor from central Maryland, currently working on her MFA at Columbia University. She has worked on a national and international scale exploring classic text, developing new plays, devising, and investigating new ways to reach audiences. Some of NJ’s credits include The River Rouge (Director),  Freedom Train (Director), The Tempest (Director), Endangered: the Eco Musical (Associate Director), Love and Information (Director), Good Man(Director), Town Hall (Director), Truth or Lie (Director), What She Found (Director), Then She Fell (ASM), Amazing Spider-Man 2, Daredevil, and Jessica Jones. More at: www.njagwuna.com


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Kareem Fahmy is a Canadian-born director and playwright of Egyptian descent. He is a 2017-2018 National Directors Fellow (The O’Neill/NNPN). He has directed and co-conceived a number of world premiere productions including Sevan K. Greene’s This Time (Rising Circle, New York Times Critics’ Pick), James Scruggs’s 3/Fifths (3LD, New York Times 5 Must-See Shows), and Nikkole Salter’s Indian Head (Luna Stage). Other work: Rohina Malik’s The Mecca Tales (NY & NJ premieres), Adam Kraar’s Alternating Currents (world premiere). Kareem has developed plays with New York Theatre Workshop (where he is a Usual Suspect), MCC, Second Stage, Soho Rep, New Dramatists, The Lark, Ensemble Studio Theatre, Sundance, The Civilians, Noor Theatre, Silk Road Rising, and Berkeley Rep. He is a founder of Maia Directors, a consulting group for organizations and artists engaging with Middle Eastern stories. He is currently adapting the beloved Egyptian novel The Yacoubian Building for the stage. MFA: Columbia University. www.KareemFahmy.com


Photo by Annabel Guevara

Salma S. Zohdi is an Egyptian Dramaturg based in New York City. She is the 2017/2018 Next Generation Fellow at The Martin E. Segal Theatre Center. Salma is a recipient of two international fellowship awards from the American Association for University Women. When she lived in Egypt she worked as a producer, teaching artist, stage manager, playwright, dramaturg, translator, and assistant director. Credits at Columbia University include: Who’s Afraid of Virginia Woolf?The Love Song of J. Robert Oppenheimer, and Disposable Promises. NYC credits: Nathan the Wise at CSC, The Mecca Tales, an evening of “Arab Classic Plays”, and American Dreams & Arabian Nights at the BRICLab. Salma is also a collaborator on a work-in-development of a theatre adaptation of Alaa El Aswany’s acclaimed Egyptian novel The Yacoubian Building. At the Segal’s spring 2018 season, she is a co-curator and dramaturg of “Re-Reading Oppression,” an evening of a curated reading series of one-act plays that chronicle oppression, discrimination, and abuse. MA: AUC – English & Comparative Literature from AUC. MFA: Columbia University – Theatre (Dramaturgy).





Start: Apr 30, 2018
End: Apr 30, 2018
Venue: Segal Theatre
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May 2

Lincoln Center Theater Directors Lab with Anne Cattaneo

2017 Directors Lab. Photo by Joan Marcus.

Wednesday, May 2
Segal Theatre
6:30pm Readings + Discussion

FREE + Open to public. First come, first served.

Join us to discover and celebrate the astounding work and legacy of the Lincoln Center Theater Directors Lab, an international developmental program for emerging directors from many theatrical traditions. Since the inaugural lab in 1995, the LCT Directors Lab has nurtured the talents of over 1,500 emerging directors from around the world through workshops, shared sessions, rehearsals, and discussions with master artists under the leadership of dramaturg Anne Cattaneo. Anne Cattaneo and members of previous Labs will discuss the intensive investigation of their craft and the collaborative relationships developed through the program. A discussion with past and present Directors Lab collaborators will follow work-in-progress excerpts.

Start: May 2, 2018
End: May 2, 2018
Venue: Segal Theatre
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May 10

Objects of Study: Methods and Materiality in Theatre and Performance Studies

Thursday, May 10th
Segal Theatre
7:30pm Performance, 5:30pm Roundtable + All Day Conference

FREE + Open to public. First come, first served.

The multiple potential meanings of “object” within theatre and performance studies point to questions about the relationship between knowledge and materiality. With this conference, we issue a challenge to the common understanding of scholarly work as focused on an “object of study.” We seek to destabilize the terms “object” and “study” to explore how the ways in which we conceive of objects and materiality might influence the framework of our discipline. Are we, as scholars, engaging in acts of objectification? How do the objects also act upon us?

This student conference is organized by the Doctoral Theatre Students’ Association and will host working groups of emerging scholars during the day, followed by a roundtable with Katherine Behar (Baruch College, CUNY), Maaike Bleeker (Utrecht University, Netherlands), Rebecca Schneider (Brown University), Soyoung Yoon (The New School), and a performance by Larissa Velez Jackson (LVJ Performance Co.).

For more information, please visit the webpage: cuny.is/objects

This event will take place thanks to the generous support of Sidney E. Cohn Chair Distinguished Professor Marvin Carlson, Vera Mowry Roberts Chair Distinguished Professor David Savran, Lucille Lortel Chair Professor Jean Graham-Jones, the Ph.D. Program in Theatre, Martin E. Segal Theatre Center, The Center for the Humanities, and The Doctoral Students’ Council.

DTSA Conference Committee: Eylül Fidan Akıncı, Amir Farjoun, Sarah Lucie, Christine Snyder, Cory Tamler, and Jennifer Thompson.

Date: May 10
Venue: Segal Theatre
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May 21

Hilton Als “Andy Warhol: The Series”


Left: Hilton Als, photo by Brigitte Lacombe.          Right: John Jesurun, photo by Paula Court.

Monday, May 21
Segal Theatre
5:00pm Reading + Discussion

FREE + Open to public. First come, first served.

Originally written for television, Hilton Als’s Andy Warhol: The Series draws on historical accounts, rumors, and artwork to tell the story of the artist’s childhood, career, and fascination with Hollywood. The series is from the point of view of significant women in Warhol’s life–his mother and Shirley Temple. This evening will present the premiere reading, directed by New York-based director John Jesurun. Co-produced by Claire Montgomery and Alsun Keogh/Location One.

Hilton Als became a staff writer at The New Yorker in 1994 and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. His first book The Women was published in 1996. His most recent book White Girls, a finalist for the National Book Critics Circle Award and the winner of the Lambda Literary Award in 2014, discusses various narratives of race and gender. In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for creative writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2016, he received Lambda Literary’s Trustee Award for Excellence in Literature. He won the Pulitzer Prize for Criticism in 2017.

John Jesurun is a writer, director, and media artist. Since 1982, he has provided text, direction, and design for over thirty pieces. He has been published by TCG, Sun & Moon Press, and NoPassport Press. His work Shatterhand Massacree and Other Media Texts has been published by Performing Arts Journal.

Start: May 21, 2018
End: May 21, 2018
Venue: Segal Theatre
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May 24

Puerto Rico: Theatre after Hurricane María

Photo by Ryan Miller/Capture Imaging

Contemporary Theatre + Performance in Puerto Rico post María

Thursday, May 24
Segal Theatre
6:30pm Panel

FREE + Open to public. First come, first served.

Inspired by the tragic events and continued inaction in Puerto Rico, the Segal Center invites theatre and performance artists from Puerto Rico to speak about their artistic practices and how these have been impacted by Hurricane María. The evening will feature presentations, readings, and demonstrations, as well as an open forum to discuss the current state of performance and politics on the island. Invited artists and panelists include: Isel Rodríguez (Teatro Breve), Helen Ceballos (Mezcolanza), Kairiana Núñez (Mezcolanza), Mickey Negrón (Mezcolanza), and Libertad Guerra (Loisaida Center). The event will be moderated by Bertie Ferdman.

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Helen Ceballos studied at the University of Puerto Rico and the National University of Art in Buenos Aires. She created Mezcolanza, a hybrid and multidisciplinary arts collaborative with artists from the United States, Latin America, and the Caribbean. Helen directs the House of Culture Ruth Hernández Torres and chairs the board of the Casa de Mujer Dominicana in Puerto Rico.




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Libertad O. Guerra is the Acting Director and Chief Curator of the Loisaida Inc. Center. Her publications include essays in The Journal of Aesthetics and Protest and in the edited volume New York-Berlin: Kulturen in der Stadt. In 2015, she organized ¡Presente! The Young Lords in New York at Loisaida Inc. Cultural Center.




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Mickey Negrón trained at the University of Puerto Rico and has performed across the Americas, including collaborations with Rosa Luisa Márquez, Nao Bustamante, Guillermo Gomez Peña/La Pocha Nostra, Jóvenes del 98, Malayerba, and Yuyachkani. He is the Artistic Director of Asuntos Efímeros and curator of Quiebre: International Performance Festival in San Juan Puerto Rico.




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Isel Rodríguez is a member of the comedy collective, Teatro Breve, where she created Luna y Vecky—a hipster band that play hilariously irreverent-but-catchy songs, and Las monjas del cannabis, a pair of marijuana-dealing nuns. She has a Ph.D. in Theatre and Performance from ASU, an M.A. in Theatre Education from NYU, and teaches theatre in the Drama and English Departments at the University of Puerto Rico.



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Kairiana Núñez Santaliz has a BA from University of Puerto Rico (UPR) and has studied acting in Latin American and the Caribbean. Her work centers on themes of death, autobiography, colonialism, the situation in Puerto Rico, dogs, and dreams, among others. She always uses humor and poetry as active agents in her creative process.




Start: May 24, 2018
End: May 24, 2018
Venue: Segal Theatre
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June 26

Pride Voices: New Plays from Taiwan with Li-Ying Chien and Pao-Chang Tsai

Left: Li-Ying Chien’s The Possible Memoirs of a Traitor. Photo by Chin Jung Chun.
Right: Pao-Chang Tsai’s Solo Date. Photo courtesy of the artist

Tuesday, June 26
Segal Theatre

6:30pm Readings + Discussion

FREE + Open to public. First come, first served.

Join us for an evening with two leading contemporary Taiwanese playwrights, Li-Ying Chien and Pao-Chang Tsai.

The evening will feature excerpted readings from The Possible Memoirs of a Traitor by Li-Ying Chien (Director TBC) and Solo Date by Pao-Chang Tsai (performed by Tsai; dramaturgy by Soriya Chum), followed by a panel discussion with the playwrights, the directors, and scholars. Moderated by Frank Hentschker.

Through their plays and stage works Chien and Tsai have reinvigorated the Taiwanese theatre-scape. Blending new media, real-life event, and various performative techniques, their highly political and engaged works give voice to an emerging cultural movement in Taiwan. As established queer artists, their creative processes and cultural productions also shed light on the struggles and achievements of the LGBTQ community in Taiwan and Asia today.

Based on a comprehensive field study of the LGBTQ movement, HIV/AIDS medical treatment, and family and religious issues in Taiwanese society, Li-Ying Chien’s The Possible Memoirs of a Traitor (2017) uncovers stories from a Taipei gay shelter in the 90’s. Pao-Chang Tsai’s Solo Date (2016) takes place in the 2030s. Using traditional Taiwanese ritual and AI technology, a man reaches back in time in search of his deceased lover. But after hacking the lover’s computer and reading their messages, new truths come to light.

Co-curated by Yu Chien Liu (Martin E. Segal Theatre Center) and Chi-Ping Yen (Taipei Cultural Center in New York), with support from Ministry of Cuture, Taiwan) and Taipei Cultural Center in New York.


Start: Jun 26, 2018
End: Jun 26, 2018
Venue: Segal Theatre
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