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November 30

Richard Schechner Day

RS celebrating his 77th birthday

Photo courtesy of the artist

Monday, November 30
9:00am Segal Theatre + 6:30pm Elebash Recital Hall
All Day Screenings, Discussions, Readings, and Panels

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

Join us for an extraordinary day at the Segal Center celebrating the work of Richard Schechner, who recently celebrated his 81st birthday. The formation of performance studies by Schechner and his colleagues at NYU created new ways to understand human behavior and the performing arts. The day will highlight Schechner as a director, scholar, trainer, and performance anthropologist. This rare presentation highlights a day-long celebration of Schechner’s work as a theatre director, teacher, theorist, writer, editor, and founder of the Performance Group and East Coast Artists. Schechner is currently a University Professor at NYU’s Tisch School of the Arts and editor of TDR: The Journal of Performance Studies. His many influential books include Performance Studies — An Introduction; Environmental Theater; Between Theater and Anthropology; Performance Theory, and the recent Performed Imaginaries (2015). Schechner is also the editor of the Enactments Series, a series published in India by Seagull Books, distributed by University of Chicago Press.

The evening will feature Schechner reading selections from his poetry and fiction, as well as entries from five-decades worth of notebooks. The evening event is presented in collaboration with Karen Sander, Public Programs, The Graduate Center, CUNY.




Documenting the staging of the Hindu epic.
With Rishika Mehrishi + Richard Schechner

A presentation by Richard Schechner, followed by a discussion with Marvin Carlson.
Screenings and slides (presented throughout the day):

Dionysus in 69 (1968)
Tooth of Crime (1973)
Mother Courage (1976, slides)
Cherry Orchard (1983, India, slides)
Oresteia (1995, Taiwan)
Three Sisters (1997)
Hamlet (2007, China)
Swimming to Spalding (2009)
Imagining O (2014)

12:00pm – 1:00pm

A presentation by Richard Schechner in discussion with Paula Murray Cole.

A presentation by Richard Schechner in discussion with Michael Taussig.

A presentation by Richard Schechner in discussion with Mariellen Sandford.

A presentation by Richard Schechner in discussion with William Worthen.

A presentation by Richard Schechner in discussion with Joe Roach.

6:30pm | Elebash Recital Hall
Readings and a presentation by Richard Schechner from notebooks collected for over five decades, followed by a discussion with Frank Hentschker. Co-presented with Public Programs, The Graduate Center, CUNY.


Richard Schechner, one of the founders of Performance Studies, is a performance theorist, theater director, author, editor of TDR and the Enactments book series, University Professor, and Professor of Performance Studies. Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including theatre, play, ritual, dance, music, popular entertainments, sports, politics, performance in everyday life, etc. in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice. He founded The Performance Group and East Coast Artists. His theatre productions include Dionysus in 69, Commune, The Tooth of Crime, Mother Courage and Her Children, Seneca’s Oedipus, Faust/gastronome, Three Sisters, Hamlet, The Oresteia, YokastaS, Swimming to Spalding, and Imagining O. His books include Public Domain, Environmental Theater, Performance Theory, The Future of Ritual, Between Theater and Anthropology, Performance Studies: An Introduction, and Performed Imaginaries. As of 2015, his books have been translated into 17 languages. His theatre work has been seen in Asia, Africa, Europe, and North America. He has directed performance workshops and lectured on every continent except Antarctica. He has been awarded numerous fellowships including Guggenheim, NEH, ACLS, and fellowships at Dartmouth, Cornell, Yale, Princeton, and the Central School of Speech and Drama, London.


364Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature, and Middle Eastern Studies at the Graduate Center of the City University of New York. His research and teaching interests include dramatic theory and Western European theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Barnard Hewitt Award, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a Fellow of the Institute for Advanced Studies at Indiana University, a Visiting Professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (Cornell University Press, 1984), has been translated into seven languages. His 2001 book, The Haunted Stage won the Callaway Prize. His newest book is Four Arab Hamlet Plays (Martin E. Segal Center Publications 2015).

Paula Murray Cole Bio PicPaula Murray Cole is an associate professor of acting, voice and movement in the Department of Theatre Arts at Ithaca College. Her professional work is centered on the development of rasaboxes, a suite of exercises devised by Richard Schechner. Based on a combination of performance theories and practices, as well as contemporary emotion science, rasaboxes trains emotional awareness and expressivity through the use of breath, body, voice, and sensation. Cole acted in Schechner’s productions of Three Sisters and Hamlet with East Coast Artists. She has taught rasaboxes performance workshops at Ithaca College, NYU, Brown, Cornell, UC Berkeley, UT at Knoxville, CWU, The Dell’ Arte International School of Physical Theatre, among others. Cole has presented rasaboxes at conferences in the US, Canada, Turkey, Singapore, China, Israel and Poland. She co-authored The Actor As Athlete of the Emotions: The Rasaboxes Exercise with rasaboxes co-developer, Michele Minnick, published in Movement For Actors and contributed a sidebar article to the essay “Rasaesthetics,” by Richard Schechner. In 2009, Cole produced the first documentary video recording of Schechner teaching his intensive performance workshop, Crossing the Line: Inside Richard Schechner’s Performance Workshop. Over 100 hours of footage will become a digital archive so that scholars and practitioners may see Schechner’s exercises as he presented them in 2009. For more information, please visit www.rasaboxes.org

Joseph RoachJoseph Roach, Sterling Professor of Theater at Yale, is a theater historian and stage director.  His publications include The Player’s Passion (1985), Cities of the Dead:  Circum-Atlantic Performance (1996), and It (2007).  He is the editor of Changing the Subject:  Marvin Carlson and Theater Studies (2009) and, with Clark Lunberry, The Very Thought of Herbert Blau (forthcoming).


Mariellen SandfordMariellen R. Sandford has collaborated with Richard Schechner as Associate Editor of TDR since 1985. As a freelance editor she has worked on numerous books in the field of performance studies. She is co-editor with T. Nikki Cesar of the TDR issue on new theatre ensembles in (mostly) New York, editor of Happenings and Other Acts, and contributed an essay to The Rise of Performance Studies edited by Cindy Rosenthal and James Harding.

 Michael TaussigMichael Taussig was ship’s doctor who switched to anthropology via Colombia, Sth America where he lived with people losing their land to sugar plantations, studied shamanism in the Upper Amazon, and went to write books on commodity fetishism, shamanism, the Nervously Nervous Nervous System, Mimesis and Alterity, Secrecy, Defacement, The Magic of the State, gold and cocaine, law in a lawless land, beauty and the beast; as well as creating two pieces of theater; one on the sun in the age of meltdown, the other on the transformation of the sea.

William WorthenWilliam B. Worthen is Alice Brady Pels Professor in the Arts and Chair of the Department of Theatre at Barnard College, Columbia University, and Professor of Theatre and of English and Comparative Literature at Columbia. He is the author of many books, most recently Drama: Between Poetry and Performance (Wiley-Blackwell, 2010) and Shakespeare Performance Studies (Cambridge, 2014), and of articles on an array of subjects in drama and performance studies. He is a past editor of Theatre Journal and of Modern Drama, and editor of the widely-used Wadsworth Anthology of Drama, in addition to several scholarly collections. Professor Worthen has held research fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and from the Freie Universität, Berlin, and is currently working on technicities of contemporary theatrical performance.

Start: Nov 30, 2015
End: Nov 30, 2015
Venue: Segal Theatre + Elebash Recital Hall
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December 3

Performance Robot Dramaturgy – Tokyo/New York

courtesy of SKIP City Visual Museum

Photo courtesy of SKIP City Visual Museum

Thursday, December 3
Segal Theatre
FREE + Open to public. First come, first served.

6:30pm Discussion

Join us for the Segal Center’s investigation into Performance Robot Dramaturgy, which examines new concepts of theatre through performance-based explorations of liveness and the dialogue between man and machine. Influential Japanese theatre artists Keisuke Takahashi and Mikuni Yanaihara (Nibroll), will join with Marianne Weems (The Builders Association), and Japanese theatre and contemporary performance specialists Peter Eckersall (Professor of Theatre, GC CUNY), Shintaro Fujii (Professor of Theatre, Waseda University/Tokyo), Katherine Mezur, Cody Poulton (Professor of Japanese, Victoria University/Canada), and Krisztina Rosner (Postdoctoral Fellow, Waseda University/Tokyo) to explore contemporary aesthetic practices of Performance Robot Dramaturgy.

The event will be followed by a think-tank Performance Robot Dramaturgy workshop. The workshop is by invitation only.

5:00pm Performance

A Quiet Day

Playwright/Director: Mikuni Yanaihara
Projection/Set design/Sound: Keisuke Takahashi
Performers: Daisuke Matsunaga, Nozomi Kawada

There is a similar town. Seemingly they are calm by peace, but who knows what will happen tomorrow?

After 3.11, in Japan, we have lost many things. The lost told us that tomorrow might not be the tomorrow. We have experienced the night which has never come and the night which has never ended at the same time. What we need now is to understand the real meaning of the repetition of both life and death. The day when we must receive it gets closer to us. It is because we live in now, and we memorize a past, and this is because it thinks about our future. We think that it is that it is possible for us to begin to ask it with what to do not asking you a question why such a thing happened in now. Not thinking why such a thing happened, we have to ask oneself, what would be the best thing to do? The only thing that we can do is that. a town is an everyday occurrence, and our day life, and also the past history. We regarded a sense of distance of the personal need and the demand for group. We learn the present from the memory of the town. We tried that we talked facing a meaning of the essence without being confused by camouflaged environment. We think that this similar-shaped town has reality necessary for us now.

Japan Foundation B ACA Japan


This event is supported by the Japan Foundation through the Performing Arts JAPAN program and Agency for Cultural Affair, Government of Japan.


Peter EckersallPeter Eckersall is Professor of Asian Theatre at the Graduate Centre, City University of New York. Recent publications include We’re People Who Do Shows, Back to Back Theatre: Performance, Politics, Visibility (co-edited with Helena Grehan, Performance Research Books, 2013), Theatre and Performance in the Asia-Pacific: Regional Modernities in the Global Era (co-authored with Denise Varney, Barbara Hatley and Chris Hudson, Palgrave 2013) and Performativity and Event in 1960s Japan: City, Body, Memory (Palgrave 2013). He was the cofounder of Dramaturgies and was the resident dramaturg for the performance group Not Yet It’s Difficult.

Shintaro FujiiShintaro Fujii is a professor in theatre studies at Waseda University, Tokyo. He specialises in contemporary performing arts, with a focus on francophone countries and Japan. He writes on dramaturgy of the works of such prominent artists as Romeo Castellucci, Robert Lepage and Dumb Type, as well as on cultural policies concerning performing arts. He has been the co-editor of Creative Force in Postdramatic Age, Hakusuisha, 2014 (anthology of interviews with artists such as Rimini Protokoll, Romeo Castellucci, Gisèle Vienne…), Arts and Their Environment, Ronsosha, 2012 (anthology of essays on national and international cultural policies), Théâtre/Public, no.198, “Scènes françaises, scènes japonaises: allers-retours”, 2010 (special issue of a French review on exchange in theatre between Japan and France).

Katherine Mezur photo by Holger Hartung

Katherine Mezur is a freelance dance, theatre, and performance studies scholar, curator, choreographer and director. Mezur holds a PhD in Theatre and Dance from the University of Hawai’i Manoa, (MA Dance Mills College, BA Film Hampshire College). Her research focuses on transnational East Asian performance influences and practices. Mezur writes on Japanese traditional and contemporary performance, girl cultures and their live and mediated performance, and gender performance from kabuki to J-pop.  Her books and articles include, Beautiful Boys Outlaw Bodies: Devising female-likeness in Kabuki, “Stranger Communities: Art Labor and Berliner Butoh,” and in progress: Radical Aesthetics:  Performing Sweet and Deviant in Contemporary Japan, She has held positions at Georgetown University, CalArts, McGill University, and the University of Washington, Seattle. She is a co-curator for the Performance Studies international (PSi) Fluid States, Aomori, Tohoku conference and core member of the Butoh research unit Portfolio Butoh at Keio University Art Centre, Tokyo. She was a Research Fellow at the International Research Center, “Interweaving Performance Cultures,” of Freie University Berlin. Current projects focus on the fabrication of girl/animal technologies, “Girls “R” Pets: The Power of Kawaii (Cute) Imitation and Empathy in Japanese Pet/Girl and Pet/Animal Performance,” “Dramaturgies of Migration,” and an edited book, Dancing East Asia: Corporeal Nationalisms, Aesthetic Politics, and Radical Choreographies.

M. Cody PoultonM. Cody Poulton is Professor of Japanese literature and theatre in the Department of Pacific and Asian Studies at the University of Victoria, Canada, where he has taught since 1988. Active as a translator of Japanese fiction and drama, he is author of Spirits of Another Sort: The Plays of Izumi Kyōka (2001) and A Beggar’ Art: Scripting Modernity in Japan, 1900-1930 (2010). He is also co-editor (with Zdenka Svarcova) of Dreams and Shadows: Tanizaki and Japanese Poetics in Prague (2007); (with Katsuhiko Endo and Richard King) of Sino-Japanese Transculturation: from the late nineteenth century to the end of the Pacific War (Lexington Books, 2011); and (with Mitsuya Mori and J. Thomas Rimer) of TheColumbia Anthology of Modern Japanese Drama (2014). A current Fellow of the Interweaving Performance Cultures International Research Center at Berlin Free University, he is preparing a book on the nonhuman in Japanese theatre.

Rosner_ID1_2015Krisztina Rosner wrote her PhD on the actor’s presence and the performative aspects of silence (2011), and teaches theatre studies at the University of Pecs, Hungary. In her activity, theory and practice are intertwined: she is a theatre director and has given workshops in Japan, Austria, Malta, Hungary. As a recipient of UNESCO-Aschberg Bursary for Performing Artists, she worked with Robert Wilson at the Watermill Center (2006-2008), participated in the SITI Company Suzuki/Viewpoints workshop (2008), and took part in the Lincoln Center Directors Lab (2010). Between January and July 2014, she was a Japan Foundation Postdoctoral Research Fellow at Hosei University (Tokyo). Since April 2015, she is a Visiting Scholar at Waseda University Graduate School of Letters, Arts and Sciences (Tokyo), as a Japan Society for the Promotion of Science Postdoctoral Fellow. Her JSPS research project focuses on reconsidering the performer’s presence, the non-human and neo-human aspects of contemporary Japanese theatre. Website: www.tinarosner.com

Keisuke TakahashiKeisuke Takahashi Video artist, Takahashi has created many visual installations in various space such as museum, gallery, theatre and public space. and he also has created performance pieces and intend to pursue the relationship between body and image. He held the solo exhibition the gallery in Milan, Italy and Taipei, Taiwan, and in Japan, SENDAI Mediatheque, BankArt1929, Ohara Museum and others, and also jointed to the international exhibition such as SHANGHAI Biennial, ECHIGO-TSUMARI Triennial and others. His works has been presented in arts festivals throughout Japan and the world. He received the MAM Contemporary Award from Mori Art Museum in 2004 as well as the Committee Recommendation Award from Japan Media Arts Festival in 2006. He also has created many performance works as the visual director for the dance company named “Nibroll “.

Marianne Weems by Valerie Oliveiro_CroppedMarianne Weems is artistic director of The Builders Association and has directed all of their productions since the company began in 1994.  In the past, she has worked with Susan Sontag, The Wooster Group, David Byrne and many others.  She is the former head of Graduate Directing in the School of Drama at Carnegie Mellon University (2008-14), and is building their Integrative Media Program in NYC. She serves the board of Art Matters, is the co-author of Art Matters: How The Culture Wars Changed America (NYU Press 2000), and has co-authored a book with Shannon Jackson on The Builders Association published this October by MIT Press.

MIKUNI YANIHARAMikuni Yanihara is the director and choreographer of Nibroll. Known for her unique style of choreography based on everyday movements and her critical expression of contemporary society, She has been invited to perform in various parts of japan, as well at international festival, Oregon Dance Festival, San Francisco’s BUTO Festival, Laokoon Summer Festival(Hamburg, Germany) and Kitchen in New York. Also a playwright and director, she won the KISHIDA KUNIO Drama Award 2012. Yanaihara also creates visual artwork under the name off-Nibroll and has participated in exhibitions at festivals and venues, including the Shanghai biennale, the OHARA Museum of ART and MIRI ART Museum. she was in charge of the choreography for animated film. Yanaihara creates works by crossing over between dance,theater and visual art.

Start: Dec 3, 2015
End: Dec 3, 2015
Venue: Segal Theatre
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December 7

Italian Playwrights Project


Photos courtesy of the artists

Monday, December 7
Segal Theatre

6:30pm Reading

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

The Segal Center, in collaboration with Italian Artistic Director Valeria Orani from 369gradi (Italy) and Umanism (NY) has co-curated a new Italian translation, performance, and publishing initiative. The plays were selected, in collaboration with an advisory committee, from a pool of recent winners of some of the most prestigious playwriting awards in Italy, including The Ubu Award, The Riccione Award, and The Hystrio Award. Featuring excerpted readings of: Ce Ne Andiamo per non darvi altre preoccupazioni by Daria Deflorian & Antonio Tagliarini, Il Guaritore by Michele Santeramo, I Vicini by Fausto Paravidino, and Origine Del Mondo by Lucia Calamaro. All playwrights, except Michele Santeramo, will be present. Translation by Ana Candida de Carvalho Carneiro & Raquel Almazan, Janice Capuana, and Jane House. Supported by the Italian Cultural Institute of New York and The Segal Company/The Segal Group.





Monday, December 7
ICI 686 Park Ave at 68th St

Join us also for an afternoon event at the Italian Cultural Institute of New York (ICI) at noon for a round table with producers, artistic directors and playwrights to discuss Presenting European Theatre in New York in the New Millennium, mediated by the journalist Graziano Graziani. With Giorgio Van Straten, Director of the Institute.


Lucia Calamaro ©Barbara_OizmudLucia Calamaro Playwright, director, and actress Lucia Calamaro studied in Paris with Thomas Richard, Le Coq, and Philippe Gaullier. She started off in Montevideo, Uruguay, where she directed a small experimental theatre company. Her shows were influenced by her personal doubts and novels by Boris Vian, Juan Carlos Onetti, Fernando Pessoa, and Augusto Roa Bastos. In Paris, 1998, she took part to the creation of Ethnoscenologie (comparative study of live performances) with sociologist Jean Duvignaud and professor Jean Marie Pradier, founders of the discipline. She briefly studied Clown with Philippe Gaullier and Gabriel Chame from Argentina. In 2001 she returned to Rome with a postgraduate degree in Ancient Dramaturgy and Versification. She works as an actress for Giuseppe Marini and in 2003 founded the company Malebolge, beginning her career as a playwright.

Daria Deflorian and Antonio Tagliarini nocreditsDaria Deflorian and Antonio Tagliarini are writers, directors, and performers. In 2008, they began their collaboration with Rewind, omaggio a Café Müller di Pina Bausch. In 2009, they performed a work about Andy Warhol and his philosophy, From A to D and Back Again. Between 2010 and 2011 they worked on Project Reality: From the Diaries of a Housewife of Krakow. Daria and Antonio also wrote the play Reality, for which Daria Deflorian won the 2012 Ubu Award for Best Actress. Ce ne andiamo per non darvi altre preoccupazioni (We’re going to give you no other concerns), was realized through artistic collaboration with Monica Piseddu and Valentino Villa. It debuted at the RomaEuropa Festival in 2013 and won the 2014 Ubu Award for Dramaturgical Research. Three of their texts have been collected in the book, The Invisible Trilogy (Titivillus 2014).

ValeriaOrani©Daniela_ZeddaValeria Orani began her career in culture and art management very early. In 1988, she attended a master program in Theatre Management and Administration directed by Fulvio Fo, managed by CEDAC and promoted by the Ministry of Tourism and ETI (Italian Theatre Foundation). In 1992, while completing her Modern Literature studies at the University of Cagliari, she was selected by the Amsterdam Felix Meritis for a Master in Performing Arts Management, where she helped to devise Netherlands cultural guidelines towards the Former Soviet Union, along with other students from Europe, the United States and Australia. From 1990 to 2003 she worked in public and private theatre institutions as Administrative Director, Coordinator and Executive Producer, following a large number of artistic projects. In 2003, Valeria founded 369gradi, a center for the promotion and distribution of Italian culture, to investigate new possibilities in contemporary art, performing arts and drama. Under her direction 369gradi became a fast-moving production, constantly fostering new collaborations and projects, some of which are already being developed for the 2015/2016 season. In 2014, she also established “The Wop Fellas” – a pilot project initiated within 369gradi – to promote Italian contemporary culture professionals from the art and crafts world in New York City. From the pilot she founded Umanism LLC in 2015 An open platform to connect Italy to the USA, recognizing and expanding the creative potential of projects by Italian creative talent in art, design, culture and crafts, supporting and offering them a quality organization in each step of the production in the larger and more challenging context of New York.

Fausto Paravidino ©Ilaria_ScarpaFausto Paravidino was born in Genova, grew up in a small village in northern Italy, and now lives in Rome. He is an actor, director, and playwright. His plays includes Trinciapollo, Gabriele, 2 Fratelli, La Malattia della Famiglia M, Natura Morta in un Fosso, Peanuts (for Connections, National Theatre), Genoa 01 (for Royal Court Theatre), Morbid, Exit, Il Caso B, Il Diario di Mariapia, i Vicini (for Thèatre National du Bretange), Il Macello di Giobbe (for Teatro Valle Occupato), and They Were in My Field (for Royal Court Theatre). He also wrote several plays for the Italian public radio. The movie he wrote and directed, Texas, was presented at Venice film festival in 2005.  

Michele Santeramo ©Giuliano_De_CarloMichele Santeramo is an author-actor. He wrote Nobili e Porci libri, Konfine (shortlisted for ENZIMI 2003), Accadueò (VOCI DELL’ANIMA Award 2004), Murgia (special mention at GENERAZIONE SCENARIO 2003), Vico Angelo Custode, and Sacco e Vanzetti, loro malgrado, published by Editoria & Spettacolo. He co-wrote Le Scarpe with Teatro Minimo and co-produced by Fondazione Pontedera Teatro (2010) and La rivincita (2012). He won the Riccione per il Teatro Award 2011 for Il guaritore.



Start: Dec 7, 2015
End: Dec 7, 2015
Venue: Segal Theatre
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December 14

Gianina Carbunariu’s Mihaela, the Tiger of Our Town (Romania)

Gianina Carbunariu’s Solitaritate. Photo by Angelique Surel

Monday, December 14
Segal Theatre

6:30pm Reading

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

An evening of excerpted readings from internationally renowned playwright/director and enfant terrible Gianina Carbunariu’s (Bucharest) play Mihaela, the Tiger of Our Town. In this fictional play inspired by a real event, a tiger escapes from a zoo and is shot after 3 hours of freedom in a neighboring forest. With an introduction by Cristina Modreanu, a curator, theater critic, and expert in performing arts (based in Bucharest and New York), we reflect on how our fears are used against the most vulnerable. Gianina Carbunariu’s work has been presented around the world at international festivals such as, the Avignon Festival 2014, LIFT Festival (London), Biennale of New Plays (Wiesbaden), TransAmerique Festival (Montreal), New Drama Festival (Moscow), Dialog (Wroclav), Kontakt Festival (Torun), Konfrontacje Festival (Lublin), and New Drama (Budapest). Cristina Modreanu is currently the editor of the performing arts magazine Scena.ro, which she co-founded in 2008, a curator for theater and performance events, and an associate professor at the Center for Excellence in Image Studies at Bucharest University. Directed by Tamilla Woodard


Logo RCINY galben-orange

This event is supported by Romanian Cultural Institute, New York.


Angelique SUREL/ Le Dauphine Libere/ Photopqr. Avignon le 17 juillet 2014. Festival d'Avignon Portrait de Giamina CARBONARIOU

Gianina Carbunariu is a director and playwright, based in Bucharest. From 2013 to 2015, she was a lecturer in directing at Babes Bolyai University in Cluj. She was the coordinator of theatre workshops at the Conservatoire and Universite Libre de Bruxelles and GalataPerform Theatre in Istanbul. Gianina was the association initiator, producer, and is a co-producer of independent theatre projects at DramAcum. Performances by Gianina Carbunariu were presented in international festivals including the official selection Avignon Festival 2014, LIFT festival in London, Biennale of New Plays from Wiesbaden, TransAmerique Festival in Montreal, New Drama Festival in Moscow, Dialog in Wroclav, Kontakt Festival in Torun, Konfrontacje Festival in Lublin, New Drama in Budapest, Mladi Levi Festival in Liubliana, Divadelna Nitra, New Drama in Bratislava, 20 Years After at HAU in Berlin, and Contemporary Balkan Scene – Onassis Center in Athens.

Cristina Modreanu foto Cornel Lazia 3Cristina Modreanu is a curator, theater critic, and expert in performing arts based in Bucharest, Romania and New York, USA. She holds a PHD in theatre from the Theater and Film University in Bucharest and she is the author of five books on Romanian Theatre. Modreanu is currently the editor of the Performing Arts Magazine Scena.ro, which she co-founded in 2008, curator for theater and performance events, and an associate professor at the Center for Excellence in Image Studies of Bucharest University. She is also a Fulbright Alumna and she was a Visiting Scholar at NYU Tisch School of the Arts, Performance Studies Department in 2011-2012 academic year. More details on www.cristinamodreanu.com


Tamilla Woodard is a theatre director who works both nationally and internationally. She is co-founder of PopUp Theatrics, a partnership creating site impacting theatrical events around the world and in collaboration with international theatre artists. Currently, she is serving as the Artistic Director of The Five Boroughs/One City Project, a multi-year initiative of The Working Theater. The project will support the commissioning and development of 5 Playwright/Director teams working in collaborations and creating theatrical works in response to working class communities in all 5 boroughs. She is a current Time Warner Directing Fellow at the Women’s Project Theater Lab, a Usual Suspect at New York Theatre Workshop, alumnus of The Lincoln Center Directors Lab and artistic affiliate with New Georges. She graduated from The Yale School of Drama’s Acting program and is the recipient of The Charles Bowden Award from New Dramatists and The Josephine Abady Award from The League of Professional Theatre Women.

Start: Dec 14, 2015
End: Dec 14, 2015
Venue: Segal Theatre
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January 11, 2016

The Lincoln Center Theater Review

Scott Irvine (War Horse) and Omnivore (The King and I) 300dpi

Photos by Scott Irvine (War Horse) and Omnivore (The King and I)

Monday, January 11
Segal Theatre

6:30pm Discussion

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

Join us for an evening in celebration of the Lincoln Center Theater Review, a literary and art journal that accompanies the productions at Lincoln Center Theater. Founded in 1987 by John Guare, the magazine solicits responses to the themes and issues in the plays from visual artists and noted writers of fiction, poetry and commentary, in the belief that theater plays a part in the intellectual discourse of our time. The Review’s past contributors have included authors Nadine Gordimer, Arthur Miller, Vaclav Havel, Athol Fugard, Sigrid Nunez, Peter Brook, Arthur Schlesinger, Jr., Cynthia Ozick, Barbara Gelb, Oscar Hijuelos, Jane Smiley, Colm Toibin, Charles Johnson, James Salter, Robertson Davies, Pete Hammill, Mary Gordon, Margaret Atwood, Philip Levine, Philip Howard, Samuel Beckett, and Christopher Buckley, as well as countless playwrights, actors, and designers from LCT’s productions. The Review’s literary content is enhanced with the work of a distinguished roster of visual artists, including Kiki Smith, Gregory Crewdson, Cindy Sherman, Keith Carter, Ed Ruscha, William Kentridge, Yinka Shonibare, and David Salle.

Published three times each season, the Review has a typical print-run of 10,000 copies of each issue. As many as 250,000 copies were printed for the productions of South Pacific and War Horse in their extended runs, as well as LCT’s current Tony Award winning production of The King and I. The magazine also has a mailing list of subscribers and is distributed to libraries and national theater and book critics. It is available to audience members in in the LCT lobbies and is available, for free, online on the Theater’s website www.lct.org/explore/magazine.

Founder and Co-Executive Editor John Guare will be joined by LCT Dramaturg and Co-Executive Editor Anne Cattaneo, Editor Alexis Gargagliano, Art Director Tamar Cohen, and Picture Editor David Leopold. Moderated by Frank Hentschker. A slideshow presentation will showcase highlights from past issues and the editorial team, which has worked together for almost two decades, will discuss their challenges and successes, as well as the mission of the Review. Complimentary issues will be distributed.



John Guare by Paul Kolnik

Photo by Paul Kolnik

John Guare’s plays and films include A Free Man of Color (Pulitzer Prize finalist), Lydie Breeze, Landscape of the BodyThe House of Blue Leaves (NY Drama Critics Circle Award); Six Degrees of Separation (NY Drama Critics Circle Award; London’s Olivier Award Best play) Atlantic City (Oscar nomination); Two Gentlemen of Verona (Tony Award).  PEN Master Dramatist Award; Gold Medal in Drama: American Academy of Arts and Letters; Obie Sustained Excellence. Council member Dramatists Guild; Founder and Co-Executive Editor of the Lincoln Center Theater Review


Anne Cattaneo by Sara Krulwich

Photo by Sara Krulwich

Anne Cattaneo is the dramaturg of Lincoln Center Theater and the creator of the Lincoln Center Theater Directors Lab.  A three term past president of Literary Mangers and Dramaturgs of the Americas, she is the recipient of LMDA’s first Lessing Award for lifetime achievement of dramaturgy. In 2011, she was awarded the Margo Jones Medal given annually to a “citizen of the theater who has demonstrated a significant impact, understanding and affirmation of the craft of playwriting, with a lifetime commitment to the encouragement of the living theatre everywhere.”  She is the Co-Executive Editor of the Lincoln Center Theater Review.


Photo by Rex Bonomelli

Photo by Rex Bonomelli

Alexis Gargagliano is the editor of the Lincoln Center Theater Review and an executive editor at Regan Arts, she has also worked at Scribner and Atavist Books and has had the pleasure of working with such wonderful authors as Anita Amirrezvani, Matt Bondurant, Staceyann Chin, Alison Espach, Cristina García, Adam Gollner, Linda Grant, Linda Gray, Charles Johnson, Tracie McMillan, Robin Romm, Ronda Rousey, and Juliet Schor.


Photo Courtesy of the Artist

Photo Courtesy of the Artist

Tamar Cohen is a New York-born and-based graphic designer and fine artist. She has art directed and designed over 55 issues of the Lincoln Center Theater Review in the last 22 years. She splits her time between her design firm Tamarco where her clients have included Chronicle Books, the Gap, Nickelodeon, TBS, ESPN and Swatch and working on her own silk-screened collage abstractions. You can see more of her work at tamarcohen.com.


Photo Courtesy of the Artist

David Leopold has organized exhibitions for museums around the country including the Library of Congress and the New York Public Library for the Performing Arts. Internationally, he has curated shows for the Victoria and Albert Museum, and the Filmmuseums in Frankfurt and Berlin. He is now the Creative Director for the Al Hirschfeld Foundation and, as author, his latest book, The Hirschfeld Century: Portrait of An Artist and His Age was published by Alfred A. Knopf to coincide with a major retrospective that Leopold curated for the New York Historical Society. For the last two decades, Leopold has been the Picture Editor of the Lincoln Center Theater Review.




Start: Jan 11, 2016
End: Jan 11, 2016
Venue: Segal Theatre
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February 25, 2016

Segal Film Festival on Theatre and Performance

Segal Film Festival on Theatre and Performance

Start: Feb 25, 2016
End: Feb 26, 2016
Venue: Segal Theater
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iCal Import
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