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September 27

A Day with Romeo Castellucci

Photo by Luca Del Pia

Photo by Luca Del Pia

Tuesday, September 27
Segal Theatre
5:00pm Artist Talk +
10:00am- 4:30pm Screenings

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

Italian theatre director Romeo Castellucci is one of the world’s leading contemporary theatre artists.

Born in Cesena in 1960, Castellucci graduated in scenic design and painting from the Academy of Fine Arts in Bologna. Together with Claudia Castellucci, Chiara Guidi, and Paolo Guidi, he founded the theatre company Socìetas Raffaello Sanzio in 1981. He is internationally recognized—his works having been staged in over fifty countries—for his theatre based on a synthesis of the arts. In 2013 Castellucci received the Golden Lion for Lifetime Achievement from La Biennale Teatro di Venezia. In 2014 he was assigned an Honorary Degree for the disciplines of Music and Theatre from the University of Bologna, and the European magazine Opernwelt named him Best Opera Director of the year.

Castellucci often re-envisions mythical tales by distilling them to their pure essence and then crafting new meaning with images, sound, physicality, and stunning stage design. His artistic works provoke and mesmerize in their intensity, and provide sensory experiences for the audience.

Presented in collaboration with the French Institute Alliance Francaise (FIAF)/Crossing the Line Festival (Co-curated by Lilli Chopra, Simon Dove, and Gideon Lester), which will present Romeo Castellucci for the first time in New York City with Julius Caesar. Spared Parts, a shortened version of his 1997 production.
www.CrossingTheLineFestival.org/events/Romeo-Castellucci

Featuring The Act of Seeing with One’s Own Eyes, a selection of excerpts from recordings of Romeo Castellucci’s works. Curated by Piersandra Di Matteo, Italy.

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Romeo Castellucci
is born in 1960 in Cesena, Italy. He graduated with a degree in painting and scenography from the Academy of Fine Arts in Bologna. In 1981, jointly with Claudia Castellucci and Chiara Guidi, he founded Socìetas Raffaello Sanzio. Since then he has produced numerous plays in the role of author, director and creator of scenes, lights, sound and costumes. He is known all over the world, his work have been presented in more than fifty different countries, as an author of theater based on the totality of the arts, aimed at creating an integral perception; he has also written various essays on the theory of directing plays, which trace the development of his type of theater. His directing is characterized by dramatic lines that are not subject to the primacy of literature, but rather make of theater a plastic, complex art, rich with visions. This has developed a comprehensible language in the same way that music, sculpture, painting and architecture can be. His plays are regularly invited and produced by the most prestigious theaters and festivals all over the world.

piersandra-di-matteo-portraitPiersandra Di Matteo. Performing arts theorist and independent curator. Her theoretical research concerns postdrammatic theatre and performative formats as procedural phenomena, linguistics and contemporary philosophy. At the Department of the Arts (University of Bologna) she has been focusing her theoretical trajectory on the politics and ethics of the voice. She has been part of international conferences and lectures dedicated to these topics (Montreal, London, Rome, Amsterdam, Shanghai, Hong Kong, Singapore). Her essays have been published in various international magazines, art catalogues, collections of essays and multimedia projects. Her experimentation with cross-forms of performance and editorial production often involves projects in critical writing, performative writing and moments that intertwine theory and practice, understood as tactics in the configuration of other spaces for the construction of knowledge. She is a theoretical consultant for European artists and performers. She was awarded the UBU Prize for “Best curatorial-organisational project 2014” for the multi-format project e la volpe disse al corvo. Since 2008, she has been working closely with Romeo Castellucci as dramaturge.

 

SCREENINGS: THE ACT OF SEEING WITH ONE’S OWN EYES
Curated by Piersandra Di Matteo

10:00am | Program #1 The Epic of Dust (1992-1999)
Amleto, la veemente esteriorità della morte di un mollusco (1992)
Orestea (una commedia organica?) (1995 > 2015)
Giulio Cesare (1997)
Genesi. From the Museum of Sleep (1999)

The research directions explored in the Nineties and brought together as the Epopea della Polvere / Epic of Dust were for Romeo Castellucci an occasion to radically rethink the tradition of western drama. Denying any legitimacy to a theatre conceived as the illustration of a text, he engaged in a complete and rigorous immersion into the great classics of western theatre from Aeschylus to Shakespeare, discovering a theatre of the body. In Amleto, la veemente esteriorità della morte di un mollusco / Hamlet, the vehement exteriority of the death of a mollusc (1991), we meet a boy with the symptomology of an autistic child. Closed up inside a concentration camp made of electric circuits and stuffed animals that have become simulacra of his family, he incessantly vacillates between being and non-being. Orestea (una commedia organica?) / Oresteia (an organic comedy?) (1995) – recently restaged 20 years after the original – even while maintaining the architecture of Aeschylus’ tragedy in its three episodes – Agamemnon, The Libation Bearers, Eumenides –, derails the text in the manner of Lewis Carroll’s Alice and Humpty-Dumpty translated by Antonin Artaud during the psychiatric internment in the hospital in Rodez. Aeschylus’ language passes into the body, becoming an organic substance capable of bringing to light the sacrificial content of myth, archaic rites and the human animal that is unleashed when the limits of civilisation are overstepped. Giulio Cesare / Julius Caesar (1997), inspired by Shakespeare’s drama, delves into the empire of rhetoric, the exercise of discourse intended to persuade, the morphology of the monument and an obsession with statues, looking towards the origins of western culture and its forms of politics, framing, between simulation and dissimulation, a drama of the voice. Genesi. From the museum of sleep (1999) comes to grips with the first book of the Bible. Structured into three acts – At the beginning, Auschwitz, Abel and Cain –, Castellucci contemplates creation through its most extreme opposite: Auschwitz. Bodies, mechanisms and symbolic figures trace out a “museum of sleep”, a complex itinerary made mechanical by secret and inexorable movements, in which each creature is condemned to dream itself and be dreamed, exhausting itself while evoking a form of suffering that reveals an enormous compassion for mankind.

11:40am | Program #2 Tragedia Endogonidia (2002-2004)
A.#02 AVIGNON (2002)
BN.#05 BERGEN (2003)
P.#06 PARIS (2003)
C.#11 CESENA (2004)

The Tragedia Endogonidia is the colossal dramatic cycle conceived by the Socìetas Raffello Sanzio over a period of three years (2002-2004), producing 11 Episodes in 10 European cities (Cesena, Avignon, Berlin, Brussels, Bergen, Paris, Rome, Strasburg, London and Marseille). Envisioned as an organism in a perpetual state of flight, founded on an auto-generative idea that revolves around the city, the cycle’s dramatic structure retraces the exoskeleton of Greek tragedy in order to probe into the presence of the tragic in today’s world. The most obvious dissimilarity is the presence of raw facts, with no possible catharsis. The Hero’s solitude and anonymity, and his inability to die, are explored through figures and acts that seem to rotate endlessly and pointlessly, no longer being surrounded by a polis and a chorus, a collective capable of embracing death, rejecting it or accepting it. The cycle of films, created by videoartists Cristiano Carloni and Stefano Franceschetti, encompasses 11 films which retrace the biological and morphological life of the entire project. Here, we have proposed a viewing of 4 Episodes.

1:30pm | Program #3 Inferno / Purgatorio / Paradiso (2008)
Inferno (Cour d’Honneur, Papal Palace, Avignon, 2008)
Purgatorio (Parc des Expositions, Avignon, 2008)
Paradiso (Église des Célestins, Avignon, 2008) / (Chiesa di Santo Spirito, Cesena, 2008)

Nominated as associated artist of the Avignon Festival 2008, one of the most long-standing and significant European theatre festivals, Romeo Castellucci staged Inferno, Purgatorio, Paradiso, a trilogy freely inspired by Dante Alighieri’s Divine Comedy. Filmed extracts allow us to revisit the three performances: the Cour d’Honneur of the Papal Palace hosted the Inferno in which the artist, choosing to “be Dante”, takes upon himself the sense of confusion involved in finding oneself at the outset of a voyage through what it is to be human; Purgatory, set in the interior of an upper-bourgeois residence, portrays a small family unit whose routine expands into a series of tableaux with psychological and dreamlike overtones; and, lastly, two visions of Paradise, one in Avignon’s Église des Célestins in which the impossibility of representing the Visio Dei is fixed in the blink of an eye affected by a gravitational collapse, and the other in Cesena’s Holy Spirit Church, in which the spectator is propelled towards a region to which the human eye cannot gain access.

3:50pm | Program #4 The Act of Seeing. A Selection of Extracts (2006-2014)
Hey Girl! (Festival d’Automne, Paris, 2006)
Sul Concetto di volto nel Figlio di Dio (Theater der Welt, Essen, 2010)
Io penso (Taipei Arts Festival, Taipei, 2010)
The Phenomenon Called I (Tokyo Festival, Yumenoshima, 2011)
Le Sacre du Printemps (Ruhrtriennale, Duisburg, 2014)

This program is made up of extracts from a few recent creations by Romeo Castellucci. In the performance Hey girl! (2006), which pivots around the truth of the body of the actress Silvia Costa, a threshold between dream and wakefulness is developed in which the flow of gestures and images condenses the feminine exteriority of a state of consciousness. In Sul Concetto di volto nel Figlio di Dio (On the Concept of the Face, Regarding the Son of God) (2010), framed between an enormous Salvator Mundi by Antonello da Messina and the spectator, a hyperbolic amount of excrement is produced by an old and incontinent father, lovingly cared for by his son, turning the degradation of the body into a sublime reflection on mankind and transience. The sublime aesthetic shock of the installation Io penso reveals all of the western asymmetry of man’s ancient conflict with nature, reawakening the enigma of its mute power. An unprecedented vision follows of the site-specific performance The Phenomenon Called I (2011), conceived en plein air for the park of the artificial island Yumenoshima (Island of Dreams), made out of urban waste and found in the bay of Tokyo, in front of an audience of approximately 3,000 people, roughly six months following the disastrous tsunami that struck the country. The sequence ends with a short extract from Le Sacre du Printemps (2014), a choreography for 40 machines in which the molecular dance of 30 tonnes of animal bone dust, industrially produced as agricultural fertiliser, nebulised into gaseous masses, incarnates the idea of dance, composing a rhythmic score that is closely related to the static ostinatos and the dynamic accents of Igor Stravinskij’s music.

Start: Sep 27, 2016
End: Sep 27, 2016
Venue: Segal Theater
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October 5

PRELUDE 2016

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Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

Start: Oct 5, 2016
End: Oct 5, 2016
Venue: Segal Theatre
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October 6

PRELUDE 2016

Prelude 14 Full Logo v2 white no period

Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

Start: Oct 6, 2016
End: Oct 6, 2016
Venue: Segal Theatre
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October 7

PRELUDE 2016

Prelude 14 Full Logo v2 white no period

Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

Start: Oct 7, 2016
End: Oct 7, 2016
Venue: Segal Theatre
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October 17

Québécois Playwrights Project: Sarah Berthiaume, Michel-Marc Bouchard & David Paquet

Photo by Peter Eckersall

Photo by Peter Eckersall

Monday, October 17
Segal Theatre
6:30pm Readings + Discussion 

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

Join us for an evening discovering contemporary writing from Quebec, Canada. Even located so close to the U.S., productions of French Canadian writers are presented more regularly in Berlin, London, and Spain than in the Americas.

Québécois playwrights Sarah Berthiaume (with Yukonstyle, translated by Nadine Desrochers), Michel-Marc Bouchard (with Tom at the Farm, translated by Linda Gaboriau), and David Paquet (with 2.14, translated by Chantal Bilodeau) will visit the Segal Center.

Introduction by Yves Jubinville, director of the École supérieure de théâtre, Université du Québec à Montréal. The reading is followed by a panel discussion with the playwrights, Yves Jubinville, and Brigitte Poupart (artist in residence, Délégation générale du Québec).

In collaboration with Centre des Auteurs Dramatiques (CEAD), a Montreal‑based organization that provides support for playwriting development and promotes Canadian Francophone plays and playwrights.

Curated by Emmanuelle Sirois, Canada, International Projects Advisor, CEAD; Visiting Scholar 2015/2016, The Segal Center, in collaboration with Antje Oegel.

With additional support from the Quebec Government Office, New York; Caroline Dufresne, Cultural Attache.

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Photo by Jérémie Battaglia

Sarah Berthiaume’s first play, Le Déluge après (2006) was awarded the Égrégore prize in 2006 and presented in Avignon, Jonquière, and in 2010, in English at the Théâtre La Chapelle, in Toronto and in German translation in Sarbrücken. Yukonstyle (2010) was presented in Limoges, Innsbrück, Heidelberg, Toronto, Brussels and Paris (Théâtre La Colline). Her plays have been featured at Dramaturgies en Dialogue (2009) and the Centre du Théâtre d’Aujourd’hui. She was awarded the Sony Labou Tansi in 2015.

 

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Photo by Julie Perreault

Acclaimed playwright Michel-Marc Bouchard wrote over 25 plays, all staged. Les Feluettes (1986), one of his most important plays and recipient of major prizes, was adapted into an opera and presented by the Opéra de Montréal in May 2016. He received major awards by the Canada Council for the Arts and finalist for the Governor General for preforming arts awards, among many other accolades. Other major plays comprise Les muses orphelines (1988) and Christine, la reine-garçon (2012).

 

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Photo by Marie Claude Hamel

A graduate of the National Theatre School of Canada (2005), David Paquet‘s play Porc-Épic (2006) was presented in Montreal, Germany, Mexico, Austria, France and Belgium, and earned him major awards such as the Prix Michel-Tremblay (2010), the Governor General Awards and the Prix Sony Labou Tansi (2014). His play Le brasier (2012) is presented this Fall at the Centre du Théâtre d’Aujourd’hui (Montreal), where he is artist-in-residence. David also serves on the board of the Centre des auteurs dramatiques (CEAD).

 

Start: Oct 17, 2016
End: Oct 17, 2016
Venue: Segal Theater
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October 24

Marie Chauvet/Haiti: Chauvet’s Theatres of Revolt

Photo courtesy of the artist

Photo courtesy of the artist

Monday, October 24
Segal Theatre
6:30pm Evening Readings +
2:00pm Afternoon Symposium 

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

Join us for a celebration of the 100th birthday of Haitian playwright and novelist Marie Chauvet.

Marie Chauvet was forced to flee Haiti after publishing works critical of the race and class structures undergirding Haitian society and politics during the totalitarian regime of François “Papa Doc” Duvalier. Her most well-known work, the trilogy Love, Anger, and Madness, was first published in Paris in 1968 with the support of Simone de Beauvoir, bringing her much acclaim and putting her life in great danger. Exiled from Haiti, leaving her affluent family behind, Chauvet spent the final years of her life in New York City, where she worked as a maid and died in relative poverty in 1973. It is only in the last two decades that Chauvet’s work has been given critical attention, enjoying re-editions in French and translations in English and Spanish. Though best known as a novelist, Chauvet was also a playwright, and much of her prose fiction is written as dramatic dialogue.

Organized by Professors Alessandra Benedicty-Kokken (City College of New York, CUNY) and Kaiama L. Glover (Barnard College, Columbia University) in collaboration with Frank Hentschker (The Segal Center), the program will bring together scholars, experts, and theatre artists to introduce Chauvet’s work for the stage.

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Symposium and Reading Schedule:

2:00pm
OPENING REMARKS & WELCOME
Régine Isabelle Joseph (CUNY)
and Francesca Sautman (Ph.D. Program in French, The Graduate Center CUNY; Henri Peyre Institute)

2:15pm
STAGING REVOLUTION: CHAUVET’S DANCE ON THE VOLCANO
Reading of excerpt in English from La Danse sur le volcan (Dance on the Volcano) by Gina Athena Ulysse.
Panel Discussion with Jeremy Glick (Hunter College, CUNY) and Stéphanie Bérard (Institut d’Etudes Théâtrales), moderated by Kaiama L. Glover.
4:00pm
CONFLICT(ED) BODIES: CHAUVET’S REVOLTING AESTHETICS
Reading of excerpts in English from Chauvet’s work by Gina Athena Ulysse.
Panel Discussion with Christian Flaugh (University of Buffalo, SUNY) and Régine Michelle Jean-Charles (Boston College), moderated by Alessandra Benedicty-Kokken.

6:30pm
Performance of excerpts in English from La Légende des fleurs (The Legend of the Flowers, translated by Alessandra Benedicty-Kokken); Jose Pliya’s theatrical adaptation of Amour (Love, translated by Lena Taub Robles); and Les Rapaces (Birds of Prey, translated by Carolyn Shread), directed by Alice Reagan.
Followed by panel discussion with Gina Athena Ulysse, Judith Miller, and Frank Hentschker.

 

 

Photo by Roberta Tabanelli

Photo by Roberta Tabanelli

Alessandra Benedicty-Kokken is Assistant Professor of Caribbean and Postcolonial Literatures and Director of the MA in the Study of the Americas at the City College of New York (CUNY). She is author of Spirit Possession in French, Haitian, and Vodou Thought: An Intellectual History (Lexington Books, 2015). She is co-editor of both Revisiting Marie Vieux Chauvet: Paradoxes of the Postcolonial Feminine (2016), a special issue of Yale French Studies and The Haiti Exception: Anthropology and the Predicament of Narrative (Liverpool University Press, 2016). She is Series Editor of the Brill Caribbean Series. Her current research looks at how the culture industry affects identity politics in major urban centers.

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Kaiama L. Glover is Associate Professor of French and Africana Studies at Barnard College, Columbia University. She is author of Haiti Unbound: A Spiralist Challenge to the Postcolonial Canon (Liverpool 2010); co-editor of Marie Vieux Chauvet: Paradoxes of the Postcolonial Feminine (Yale French Studies 2016); and translator of Frankétienne’s Ready to Burst (Archipelago Books 2014), Marie Chauvet’s Dance on the Volcano (Archipelago 2016), and René Depestre’s Hadriana in All My Dreams (Akashic Books 2017). She has won awards from the PEN/Heim Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, the Mellon Foundation, and the Fulbright Foundation. She is founding Editor of sx archipelagos: a small axe journal of digital practice[smallaxe.net] and Director of the forthcoming digital humanities project In the Same Boats: Toward an Afro-Atlantic Intellectual Cartography. She is currently completing a monograph concerning individualism and representations of womanhood in Caribbean prose fiction.

Photo by Katia Arfara

Photo by Katia Arfara

Stéphanie Bérard is a Marie Curie European fellow in the Department of Theater Studies at the University Sorbonne Nouvelle in Paris. Her research deals with Caribbean literature and culture (Martinique, Guadeloupe, Haiti) and is situated at the crossroads of Postcolonial and Theater Studies. She is the author of Théâtres des Antilles: traditions et scènes contemporaines (Paris, L’Harmattan, 2009) translated and published in English by Caribbean Studies Press (Florida, 2014), and the co-editor of Emergences Caraïbes: une création théâtrale archipélique (Paris: L’Harmattan, 2010). She has published extensively on the history of Caribbean theater, Creole and French, oral tradition, rituals (gwoka drum music and dance, carnival, voodoo). Her research also deals with contemporary African drama and her book Le Théâtre-Monde de José Pliya was recently published in Paris (Editions Honoré Champion, 2015). She is currently working on a new monograph on Haitian Theater funded by an NEH fellowship.

Photo by Heather Bellini

Photo by Heather Bellini

Christian Flaugh works in francophone Caribbean and Sub-Saharan African studies in the Department of Romance Languages and Literatures at SUNY-University at Buffalo. He concentrates on subjectivity and bodily materiality (disability, gender, race) as well as theatre and performance. Flaugh co-founded Le Théâtre de la Chandelle Verte with whom he performed for several seasons. He currently co-coordinates the interdisciplinary Performance Research Workshop through UB’s Humanities Institute. Flaugh has articles published in journals like Theatre Topics, Francosphères, L’Esprit Créateur, and recently in Journal of Haitian Studies on contemporary playwright, Guy Régis. He also edited a special issue on Aimé Césaire in Formes poétiques contemporaines, and co-organized another with Tammy Berberi for Journal of Literary and Cultural Disability Studies. After his first book, Operation Freak: Narrative, Identity, and the Spectrum of Bodily Abilities (2012), his current research teases out a theory and praxis of revolting performance in francophone festivals, sketch comedy, and theatre.

regine-michelle-jean-charlesRégine Michelle Jean-Charles is an Associate Professor of Romance Languages and Literatures and African and African Diaspora Studies at Boston College. Her first book Conflict Bodies:  The Politics of Rape Representation in the Francophone Imaginary was published by Ohio State University Press in 2014.  She is the author of numerous articles that have appeared in peer-reviewed journals such as The Journal of Haitian Studies, American Quarterly, Callaloo, French Forum, Journal of Romance Studies, Research in African Literatures, and Small Axe. She has received fellowships from the Ford, Mellon Mays, and the Woodrow Wilson Foundations. She is also a board member, lecturer and performer for A Long Walk Home, Inc., a non-profit organization that uses art to educate, inspire, and mobilize young people to end violence against girls and women. Her current book project approaches Haitian diasporic cultural production by bringing together performance studies, gender studies, and visual culture

jeremy-glick

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Jeremy Matthew Glick is an Associate Professor of African Diaspora literature and modern drama. He is the author of The Black Radical Tragic: Performance, Aesthetics and The Unfinished Haitian Revolution (2016, NYU Press). He is currently working on long-form essays on Frantz Fanon, Sam Greenlee’s Black Power Detective Fiction, and Century-Methodological Approaches to African American Literature. His second book project is entitled Coriolanus Against Liberalism/ Coriolanus & Pan Africanist Loss. He is the Hunter College Chapter Chair of the PSC-CUNY Union and lifetime activist.

Photo by Lise Landeau

Photo by Lise Landeau

Judith Miller is Collegiate Professor of French and Francophone theatre at New York University. She is a former Chair of the Department of French and was one of the inaugural Deans of Arts and Humanities at New York University Abu Dhabi. She has published numerous books and articles in her field, including a study of director Ariane Mnouchkine (Routledge, 2007) and the forthcoming anthology of plays by Ivoirian author Koffi Kwahulé (Seven Kwahulé Plays by Koffi:  In and Out of Africa, Michigan, 2017).  At the University of Wisconsin, where she taught for some twenty years, she directed yearly plays in French with her students.  She has also translated some 20 plays from the French, including works by Hélène Cixous, Olivier Kemeid, Ina Césaire, José Pliya, and Werewere Liking. In 2018, the Feminist Press will bring out her translation of Guadeloupian Gerty Dambury’s novel Les Rétifs.

Photo by Shane Leclair

Photo by Shane LeClair

Alice Reagan. Directing credits include Or, by Liz Duffy Adams at Shakespeare & Company, Phaeton (a diggle of a fragment) by Mac Wellman at Classic Stage Company, Enter THE NIGHT by Maria Irene Fornes with Portland Experimental Theatre Ensemble, The Miser by Molière with Brave New World Rep, Nomads by Julia Jarcho at Incubator Arts Project, I Came to Look for You on Tuesday by Chiori Miyagawa at La MaMa. Upcoming: Elliot, A Soldier’s Fugue by Quiara Alegría Hudes at Profile Theatre in Portland, OR. Alice is Assistant Professor of Professional Practice in Directing at Barnard College.  MFA: Columbia. alicereagan.com

Photo by Maria Dillingham

Photo by Maria Dillingham

Lena Taub Robles is Assistant Professor in the Department of Modern Languages and Literatures at California State University – Bakersfield where she teaches French and Spanish. She has translated numerous articles from French and Spanish into English. She specializes in Francophone and Hispanic Caribbean literature, cultures and history.

 

Photo by Leah Masci

Photo by Leah Masci

Carolyn Shread is Lecturer of French at Mount Holyoke College and has also taught translation studies at Smith College since 2013. Both a scholar and translator, most of her published articles address two principle areas of research: the implications of French philosopher Catherine Malabou’s concept of plasticity for translation studies and the process of translating Marie Vieux-Chauvet’s Les Rapaces into English. Dr. Shread is assistant editor for Translation: A Transdisciplinary Journal. She is also managing editor of the Voix féminines series of the LEGS ÉDITION publishing house and is on the editorial board of the Haiti based journal Legs et Littérature whose upcoming issue is dedicated to celebrating the centenary of Marie Vieux-Chauvet’s birth.

Photo by Lucy Guiliano

Photo by Lucy Guiliano

Gina Athena Ulysse is a feminist artist-academic-activist and self-described Post-Zora Interventionist. She is the author of Downtown Ladies: Informal Commercial Importers, A Haitian Anthropologist and Self-Making in Jamaica (University of Chicago Press, 2008), Why Haiti Needs New Narratives: A Post-Quake Chronicle (Wesleyan University Press, 2015) and Because When God is too Busy: Haiti, me & THE WORLD, a collection of poetry, performance texts and photographs (Wesleyan University Press, 2016). She is the editor of “Pawol Fanm Sou Douz Janvye,” in Meridians: Feminism, Race, Transnationalism (2011), and “Caribbean Rasanblaj,” (2015), a double issue of e-misférica. Her other works include: I Am Storm: Songs & Poems for HaitiVooDooDoll What if Haiti Were A Woman: On Ti Travay Sou 21 Pwen Or An Alter(ed)native in Something Other Than Fiction and Contemplating Absences & Distances. Her writing has appeared in numerous journals and anthologies. A committed public intellectual, she is also a blogger. Her website: ginaathenaulysse.com

Start: Oct 24, 2016
End: Oct 24, 2016
Venue: Segal Theater
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October 31

Theatre & Performance in 1970s NYC: Hillary Miller’s Drop Dead

Photo by Shalmon Bernstein

Photo by Shalmon Bernstein

Monday, October 31
Segal Theatre
6:30pm Discussion +
11:00am Screenings

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

In the mid-1970s, many artists and organizations successfully defied socially destructive policies and fought for the arts as a public good during New York City’s near-bankruptcy and resulting austerity. Scholar and playwright Hillary Miller’s book Drop Dead: Performance in Crisis, 1970s New York (Northwestern UP, 2016) combines theatre history with a detailed analysis of productions of the time to examine how the performing arts developed innovative responses to survive the crisis. Miller’s account includes Broadway (TKTS), BAM, La MaMa E.T.C., and The Public Theater, and highlights the important role of Martin E. Segal in shaping the City’s cultural policy for decades to come. A panel of playwrights, directors, and historians will join in conversation about the theatre artists and arts institutions of the 1970s, and the significance of its theatrical legacies in understanding our contemporary city. Invited are Julia Foulkes; Jessica Hagedorn; Muriel Miguel, Spiderwoman Theater; Cindy Rosenthal; Richard Wesley; and others (TBD).

All-Day Screening: Shorts from the Feminist Seventies is a selection of 16mm documentaries made by women in the 1970s on topics ranging from marriage, sex, and reproductive health to labor, identity, and memory—all culled from the New York Public Library’s Reserve Film and Video Collection. Opening remarks by curator and film scholar Shilyh Warren, and invited guest Elena Rossi-Snook, Archivist, Reserve Film and Video Collection, The New York Public Library. Additional support from Third World Newsreel.

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SCREENINGS: SHORTS FROM THE FEMINIST SEVENTIES
Curated by Shilyh Warren. Films courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.

11:00am
My Name is Oona, Gunvor Nelson, 1969 | 16 min.
A profound experimental film that remasters sounds from and images of the filmmaker’s young daughter to ask what girlhood might mean for the next generation. Presented in collaboration with Canyon Cinema.

I Am Somebody, Madeline Anderson, 1970 | 29 min.
Commissioned by Moe Foner for union activism, this film documents a successful strike by black female hospital workers in Charleston, SC in 1969. Screening courtesy Icarus Films. I Am Somebody has been preserved with funding from the Carnegie Corporation of New York.

The Woman’s Film, SF Newsreel, 1971 | 45 min.
Follows the political awakening of 6 diverse women through interviews, archival footage, and the endearing sounds of women’s liberation bands.

1:00pm
Dyketaktics, Barbara Hammer, 1974 | 16 min.
One of the first documentaries about lesbian sexuality by a lesbian filmmaker, this explicit film quite literally takes lovemaking out into the open. Presented in collaboration with Barbara Hammer.

Game, Abigail Child Productions, 1972 | 40 min.
A frank look at an African-American couple negotiating work and sexual politics in Manhattan. Presented in collaboration with Abigail Child.

It Happens to Us, Amalie Rothschild, 1972 | 30 min.
One of the first documentaries to give voice to women’s experiences with abortion both before and after legalization. Presented in collaboration with New Day Films.

Joyce at 34, Joyce Chopra and Claudia Weill, 1973 | 28 min.
A filmmaker who struggles to balance the new demands of motherhood with her career ambitions turns to her mother in New York for perspective and advice. Presented in collaboration with New Day Films. Joyce at 34 has been preserved with funding from the National Film Preservation Foundation.

3:00pm
Yudie
, Mirra Bank, 1974 | 20 min.
The filmmaker’s aging Jewish aunt tells a powerful story of emigration, independence, and life on New York’s Lower East Side. Presented in collaboration with New Day Films.

From Spikes to Spindles, Christine Choy, 1976 | 52 min.
A landmark exploration of New York’s Chinatown told primarily through interviews and observational footage.

Chicana, Sylvia Morales, 1979 | 22 min.
The first film to insist on the particular experiences of women in the Chicano community, this film challenges popular stereotypes by producing a new history of Mexican-American women. Presented in collaboration with Women Make Movies.

Gently Down the Stream, Su Friedrich, 1981 | 15 min.
Based on the filmmaker’s journals, this experimental film explores the boundaries between dreams, memories, and the present. Presented in collaboration with Canyon Cinema.

5:00pm
Q & A with the Filmmakers
Participants: Mirra Bank, Amalie Rothschild, Claudia Weill, and others.

 

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Julia Foulkes is a Professor of History at The New School where she investigates the intersection of arts and cities. Her most recent book is A Place for Us: West Side Story and New York (2016). She is also the author of Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey (2002); To the City: Urban Photographs of the New Deal  (2011); and the editor of two journal volumes, The Arts in Place (Journal of Social History, 2010) and, with Aaron Shkuda, essays on arts and urban development in the Journal of Urban History (2015). Currently she is researching the rise of New York as a capital of culture in the 20th century.

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Photo courtesy of the artist

Jessica Hagedorn is the author of Toxicology, Dream Jungle, The Gangster Of Love, and Dogeaters, which won the American Book Award and was a finalist for the National Book Award in fiction. Other publications include Danger And Beauty, a collection of poetry and prose, and Burning Heart: A Portrait Of The Philippines. Hagedorn edited both volumes of Charlie Chan Is Dead: An Anthology of Contemporary Asian American Fiction, and Manila Noir, a crime fiction anthology. Her plays include Most Wanted, Stairway To Heaven, Fe In The Desert, and the stage adaptation of Dogeaters. Multimedia theater collaborations include work in the ‘70s and ‘80s with Ntozake Shange, Thulani Davis, Laurie Carlos, Robbie McCauley, Urban Bushwomen, and Blondell Cummings. Music: The Gangster Choir. Screenplays: Fresh Kill, The Pink Palace. Prizes and honors include the Guggenheim Fiction Fellowship, the Gerbode Foundation Playwriting Fellowship, and the Lucille Lortel Playwriting Fellowship. Forthcoming: the stage adaptation of The Gangster Of Love for San Francisco’s Magic Theatre. www.jessicahagedorn.net

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Muriel Miguel (Kuna/Rappahannock) is a choreographer, director and actor. She is a founder and Artistic Director of Spiderwoman Theater, the longest running Indigenous feminist theater in North America. Muriel is a 2016 John S. Guggenheim Fellow; has an Honorary DFA from Miami University in Ohio; is a member of the National Theatre Conference and attended the Rauschenberg Residency in 2015. She has pioneered the development of a culturally – based Indigenous performance methodology. Choreography: Throw Away Kids – Banff Centre for Arts and Creativity; Director ( Selected) : Material Witness – Spiderwoman Theater; The Scrubbing Project – Turtle Gals Performance Ensemble and Evening in Paris – Raven Spirit Dance Company. Acting: Off-Broadway – Taylor Mac’s Lily’s Revenge; Philomena Moosetail- The Rez Sisters; Aunt Shadie – The Unnatural and Accidental Women; One woman shows – Hot’ N’ Soft, Trail of the Otter and Red Mother. Muriel’s lecture Muriel Miguel: A Retrospective and her Storyweaving Workshops have been presented in the US, Canada and Europe.

Photo by DJ Dolack

Photo by DJ Dolack

Hillary Miller is Assistant Professor of Theatre at California State University, Northridge. Her book, Drop Dead: Performance in Crisis, 1970s New York City (Northwestern University Press, 2016), explores how the city’s municipal crisis transformed performing arts communities across the five boroughs. Her essays and reviews have appeared in publications including Performance Research, Lateral, The Radical History Review, Theatre Survey, and PAJ. From 2013-2015, she was a Lecturer in Stanford University’s Program in Writing and Rhetoric and Immersion in the Arts: Living in Culture. Her dramatic writing has been produced in various New York venues (Cherry Lane Theatre, Dixon Place, Manhattan Theatre Source, and HERE Arts Center) and three international Fringe festivals (New York, Edinburgh, Washington D.C.). She is from Flatbush, Brooklyn.

Photo by Carol Rosegg

Photo by Carol Rosegg

Cindy Rosenthal is Professor of Drama at Hofstra University and a performer and director. She coedited The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum (Palgrave/Macmillan, 2011) and Restaging the Sixties: Radical Theatres and their Legacies (U. Michigan, 2006) with James Harding. With Hanon Reznikov she coedited Living on Third Street: Plays of the Living Theatre 1989-1992 (Autonomedia, 2008). She has published essays in Theatre Survey, The New York Times, Women & Performance, Women: A Cultural Review and TDR, including Fall 2016, “Circling Up with The Assembly.” She is the author of Ellen Stewart Presents: Fifty Years of La Mama Experimental Theatre, forthcoming from U. Michigan Press. Also forthcoming: The Sixties, Center Stage coedited with Harding (U. Michigan) and with Julia Listengarten, Modern American Drama: Playwriting 2000-2009 (Bloomsbury/Methuen).

elena-rossi-snook

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Elena Rossi-Snook is the moving image archivist for the 16mm circulating film collection of the New York Public Library.  She has served as a curriculum consultant for the NYU Moving Image Archiving and Preservation MA program, on the Board of Directors of the Association of Moving Image Archivists and is the chair of the AMIA Film Advocacy Task Force.  Publications include “Persistence of Vision: Public Library 16mm Film Collections in America” (The Moving Image), “Continuing Ed: Educational Film Collections in Libraries and Archives” (Learning with the Lights Off: a Reader in Educational Film) and a chapter in an upcoming academic reader on race and non-theatrical film to be published by Duke University Press.  Rossi-Snook was the 2002 recipient of the Kodak Fellowship in Film Preservation.  Her documentary film We Got The Picture was made an official selection of the 2005 Tribeca Film Festival.  She is in production on a second documentary film.

Photo by Michelle Long

Photo by Michelle Long

Shilyh Warren is assistant professor of Aesthetic and Film Studies at the University of Texas at Dallas. She is currently writing a book about the history of women’s documentary filmmaking with a special focus on the 1970s. Her essays on documentary and feminist filmmaking have appeared in South Atlantic Quarterly, Signs, Jump Cut, and Mediascape. She is also the co-editor of a special feature on feminist pedagogy and cinematic violence for Films for the Feminist Classroom.

 

richard-wesley

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Richard Wesley was born in Newark, New Jersey and graduated from Howard University. He has written professionally for the stage, screen and television across five decades. He is a past winner of the Drama Desk Award, two NAACP Image Awards, four AUDELCO Awards, the August Wilson Award for Outstanding Playwriting, the Otto Award for Outstanding Writing for Political Theater and a Lifetime Achievement Award from the Organization of Black Screenwriters.  Currently an Associate Professor in the Tisch School of the Arts at New York University, Mr. Wesley also sits on the National Film Preservation Board of the Library of Congress; the Selection Committee for the Black Film Festival of the Newark Museum; the Board of Directors, Newark Symphony Hall and is an Advisor to the Center for Black Literature at Medgar Evers University in Brooklyn, NY. He is married to the novelist, Valerie Wilson Wesley.

Start: Oct 31, 2016
End: Oct 31, 2016
Venue: Segal Theater
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November 7

The Legacy of Judith Malina and Julian Beck with The Living Theatre

Photo courtesy of the artist

Photo courtesy of the artist

Monday, November 7
Segal Theatre
6:30 Readings +
10:00am Screenings

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

Join us for an evening celebrating the life and work of the late Judith Malina (June 4, 1926 – April 10, 2015), who was a regular participant and guest at many Segal Center evenings. Malina was a German-born American theatre and film actress, writer and director. In 1945, she became the student of the radical German political theatre director Erwin Piscator at The New School in New York. In 1947, with her husband and artistic partner Julian Beck (May 31, 1925 – September 14, 1985), Malina co-founded the highly influential The Living Theatre, a radical political theatre troupe that rose to prominence in New York City and Paris during the 1950s and 60s. Together they created legendary productions (The Brig, The Connection, Paradise Now, Antigone, Mysteries and Smaller Pieces, Frankenstein) until Beck’s death.

Just back from their 2016 US tour, join the The Living Theatre with Artistic Director Brad Burgess and Associate Artistic Director Monica Hunken as they read from diaries, manifestos, essays, and letters from Julian Beck and Judith Malina. Compiled and adapted by Associate Archive Director Philip Schaffer.

All-day screenings feature highlights of iconic works from The Living Theatre as well as a preview about this year’s 2016 Know Your Rites Tour.

 

SCREENINGS:

10:00am
Signals Through the Flames
, Sheldon Rochlin, 1983 | 97 mins
Signals Through the Flames is at once a history and a celebration of The Living Theatre. Founded in the late 1940s by husband-and-wife performers Julian Beck and Judith Malina, The Living Theatre was for many years the Predominant American outlet for the avant-garde movement.

11:45am
The Connection, Shirley Clarke, 1961 | 110 mins
Allen Gisnberg brought critic Kenneth Tynan to The Connection written by Jack Gelber and directed by Judith Malina at The Living Theatre’s 14th Street theatre. Tynan’s review, provoked by Ginsberg’s appreciation of the play, and Jackie McLean and Freddie Redd’s music, made The Living a fixture in the downtown scene. This was Shirley Clarke’s first major film effort, and helped set her career in motion as well.

1:45pm
The Connection excerpt, 2009 | 10 mins
In 2009 The Living Theatre staged a 50th anniversary production of The Connection directed by and also featuring Malina. The production took place in the company’s new Clinton Street theater which closed in 2013.

2:00pm
The Brig, Jonas Mekas, 1964 | 68 mins
The Brig by Kenneth Brown was the last play The Living Theatre performed at its 14th Street theatre before being exiled from the U.S. for their criticism of the Marine Corps. Brown, a former Marine, wrote a day in the life piece based on his experience in a brig facility in Japan. Jonas Mekas filmed the play after the 14th Street theatre closed, in a midtown theater space that was also closed. But the crew and ensemble found a way into the space for the filmshoot, which won Best Documentary at the 1963 Venice Film Festival, when the panel mistook its realism for a documentary film.

3:15pm
The Brig excerpt, Evan True, 2007 | 10 mins
In 2007, The Living revived The Brig at the opening of its Clinton Street theater under Malina’s direction. The production was given two OBIE’s for ensemble and direction.

3:30pm
Love & Politics, Azad Jafarian, 2012 | 52 mins
The film follows Malina through her life in the Lower East Side after the death of her second husband, Hanon Reznikov. It premiered at The Tribeca Film Festival and has played in theatres in Europe and South America.

4:30pm
Know Your Rites, Jessica Daugherty, 2016 | 60 mins
Just this August, in the summer of 2016, The Living Theatre went on tour across America. The company revived a piece from the early 1970s, Seven Meditations on Political Sado-Masochism, which was created after The Living’s arrest and imprisonment at a D.O.P.S. torture prison under the Medici dictatorship in Brazil. The 2016 tour also included street performances related to the Seven Meditations, at places such as Monsanto headquarters in St. Louis, Boeing in Chicago, Haliburton, B.P. and Spectra Energy in Houston, Mormon Temple Square in Salt Lake City and more. This video montage combines these elements to show the companies investigation of the political climate in America, both in the theatre and in the streets. Join us for the premiere screening of the work‑in‑progress documentary, directed by Jessica Daugherty.

Start: Nov 7, 2016
End: Nov 7, 2016
Venue: Segal Theater
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November 14

A Day with Robert Lepage/Canada

Photo by Jocelyn Michel leconsulat

Photo by Jocelyn Michel leconsulat

Monday, November 14
Segal Theatre
7:00pm Artist Talk +
11:00am Screenings

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

Born in Quebec in 1957, Robert Lepage is one of the most versatile theatre artists of his generation. Working as an actor, playwright, and director he is constantly creating work in theatre, film, and opera. Since founding his theater company Ex Machina in 1994, his work has toured festivals worldwide and has won him great international acclaim. In his work, Lepage draws from contemporary history as a source of inspiration, and he has been at the forefront of telling stories through the use of new technology.

Lepage has presented his work at major theaters and opera houses including The Metropolitan Opera, Opera National de Paris, Cirque du Soleil at the MGM Grand in Las Vegas, and The National Theatre in London, and has been artistic director of several institutions including Théâtre français at the National Arts Centre in Ottawa and Ex Machina. Currently he is in New York preparing Kaija Saariaho’s medieval romance L’Amour de Loin (Love From Afar), which will have its Met premiere on December 1, 2016. One of the most highly praised operas of recent years, Lepage’s L’Amour de Loin premiered at the L’Opéra de Québec in 2015. Simultaneously, he is working on his visionary arts center Le Diamant, an international-scale performing arts center in Quebec City, the new home for his theatre company Ex Machina.

All-day screenings will be followed by a talk with Robert Lepage about his work and practice with Frank Hentschker.

Screenings curated by Soriya Chum.

 

SCREENINGS:
The selections will focus on Lepage’s diverse career as a director of film, opera, and exhibition design.

11:00am
Far Side of the Moon, 2003 | FILM, 105 mins
After the death of his mother, a man tries to discover meaning in his life and in the universe and to rebuild a relationship with the only family he has left: his brother.

1:00pm
The Rake’s Progress, 2010 | OPERA, 175 mins
Stravinsky’s masterwork The Rake’s Progress, created for Teatro La Fenice in Venice in 1951, is based on a libretto by W. H. Auden and Chester Kallman, inspired by a series of 18th century prints by William Hogarth. This amazing production from La Monnaie–De Munt ‘jazzifies’ the setting by replacing Hogarth’s sin city, London, with 1950s Las Vegas, turning it into a glittering, cinematic gallery of tableaux vivants inspired by the early days of television. Staged by one of the most visionary theatre directors of our age, the Québécois Robert Lepage, the neoclassical morality tale truly becomes a grand spectacle. Lepage’s visual imagination works its magic superbly, while Kazushi Ono’s energetic musical direction drives the sparkling ensemble to exhilarating heights. This is the same production performed at The Royal Opera House, London.

4:00pm
The Image Mill Revealed, 2009 | PERFORMANCE EVENT/EXHIBITION DESIGN, 52 mins
This documentary describes the final three months leading up to the opening of Moulin à images, an impressionistic performance-event celebrating Quebec City’s 400th anniversary. Director Robert Lepage works with a member of the Ex Machina team, leading a group of talented and creative young people who were invited to build this monumental panorama. This film by Mariano Franco and Marie Belzil demonstrates the scope of the Lepage project, highlighting the contribution of every artist. The Image Mill Revealed is an adventure in art for the viewing audience.

5:00pm
Triptyque, 2013 | FILM, 90mins
Triptych is a contemporary urban saga that tells the story of Michelle, a schizophrenic bookseller, her sister Marie, a singer and actress, and Thomas, a German neurologist and Marie’s future husband.

 

Start: Nov 14, 2016
End: Nov 14, 2016
Venue: Segal Theater
Category:
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November 21

Pig Iron Theatre Company: Celebrating Pig Iron’s 20th Anniversary

Photo by Jason Frank Rothenberg

Photo by Jason Frank Rothenberg

Monday, November 21
Segal Theatre
6:30pm Discussion +
12:00pm Screening

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

 

Since 1995, Pig Iron Theatre Company has been making unprecedented,
original work for audiences in its hometown of Philadelphia and beyond.
Inspired by the work of Jacques Lecoq, Joseph Chaikin, and Toshiki Okada,
the company focuses on the intersection of physical theatre, clowning, and
dance, and has innovated across the physical and the textual. Pig Iron has
created over 30 original works and has toured to festivals and theatres in
Poland, England, Scotland, Peru, Brazil, Ireland, Japan, Italy, Romania, and
Germany, among others.

Following afternoon screenings of a selection of the company’s productions,
founders Dan Rothenberg, Dito van Reigersberg, Pig Iron artists Mimi
Lien and Jenn Kidwell, and others will talk about the company’s beginnings,
its journey, and vision for the future in a dialogue moderated by Rebecca
Rugg, Director of the Conservatory of Theater Arts, SUNY Purchase.

pitclogo-2

Photo by Colin Lenton

Photo by Colin Lenton

Dan Rothenberg is a founding member and co-artistic director of the Pig Iron Theatre Company. Dan has directed almost all of Pig Iron’s original performance works, including Poet in New YorkGentlemen VolunteersIsabellaPay UpThe Lucia Joyce Cabaret, and the OBIE Award-winning Hell Meets Henry Halfway. In 2001, Dan co-directed Shut Eye with Joseph Chaikin. In April 2010, Dan directed the English-language premiere of Toshiki Okada’s Enjoy for Play Company in New York, and then in 2014 followed up with the critically acclaimed production of Okada’s Sonic Life of a Giant Tortoise for Play Company at JACK.  In 2015, Dan directed I Promised Myself to Live Faster (Humana Festival and FringeArts Philadelphia) as well as Swamp is On, a concert-spectacle with the rock band Dr. Dog. He has received a Pew Fellowship in Performance Art and a United States Artist Knight Fellowship.

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Dito van Reigersberg, a co-founder of Pig Iron Theatre Company, is from Washington, D.C. He has performed in almost all of Pig Iron’s productions since the company’s founding in 1995, including Hell Meets Henry Halfway at Woolly Mammoth and the Ohio Theater (Obie Award); Chekhov Lizardbrain at Under the Radar (Obie Award); Zero Cost House at The Public Theater; Twelfth Night at Abrons Arts Center; and Shut Eye (co-directed by Joseph Chaikin). Regional Theatre: Prince Conti in La Bête at Arden; Lady Enid in The Mystery of Irma Vep at Act II; and Hedwig in Hedwig and the Angry Inch at Azuka. A graduate of Swarthmore College, he trained at the Neighborhood Playhouse. His alter-ego Martha Graham Cracker is famously “the tallest drag queen in the world.”

Photo by Ian Douglas

Photo by Ian Douglas

Jennifer Kidwell is a performing artist. Recent projects include Zinnias: the Life of Clementine Hunter (Robert Wilson/Toshi Reagon/Bernice Johnson Reagon); I Understand Everything Better (David Neumann); 99 Break-Ups and I Promised Myself to Live Faster with Pig Iron Theatre Company; and Dick’s Last Stand (as the controversial Donelle Woolford, Whitney Biennial 2014). She is currently at work on the original duet Underground Railroad Game (FringeArts Festival 2015, ANT Fest 2014) with collaborator Scott Sheppard. Kidwell is a proud co-founder of JACK (Brooklyn). Her piece On Playing Donelle was published in Movement Research’s Performance Journal #45 and on hyperallergic.com. She received a Fox Foundation Resident Actor Fellowship to work with Pig Iron Theatre Company, funded by the William & Eva Fox Foundation and administered by Theatre Communications Group.  She is a 2016 Pew Fellow.

mimi-lien

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Mimi Lien is a designer of sets/environments for theater, dance, and opera. Arriving at set design from a background in architecture, her work often focuses on the interaction between audience/environment and object/performer. She is an artistic associate with Pig Iron Theatre Company and the Civilians, resident designer at BalletTech, and co-founder of JACK, a performance/art space in Brooklyn. She was a 2015 MacArthur Fellow, the first set designer ever to achieve this distinction, and received an OBIE for sustained excellence in 2012. Her work has been presented at Lincoln Center Theater, St. Ann’s Warehouse, Signature Theatre, Playwrights Horizons, the Public Theater, Soho Rep, The Kitchen, among many others. Her stage designs have been exhibited in the Prague Quadrennial in 2011 and 2015.

rebecca-rugg

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Rebecca Rugg is the new Director of the Conservatory of Theatre Arts and Associate Professor of Theatre and Performance at SUNY-Purchase. Since 2005, she has taught at Yale University for both Yale College and the School of Drama, where she also previously served as associate chair of playwriting. In addition to Yale, she has taught at DePaul and Northwestern Universities and at the University of Chicago. She was the founding producer of The Great Chicago Fire Festival, developed at Redmoon Theater Company in partnership with the City of Chicago. She was dramaturg on the original productions of Caroline, or Change; Harlem Song; Radiant Baby; and commissioned Passing Strange with Joe’s Pub director Bill Bragin. Rugg is co-editor with Harvey Young Jr. of the anthology Reimagining A Raisin in the Sun: Four New Plays (Northwestern University Press). Her criticism and translations have been published in American Theatre, Theater Magazine, and Performing Arts Journal.

 

 Screening Schedule:

12:00pm
Shut Eye (2001)
A comic meditation on dreaming, sleeping, and “the ordinary,” conceived
and co-directed by Joe Chaikin.

2:00pm Welcome to Yuba City (2009)
A cowboy/clown odyssey through a mythic American desertscape.

4:00pm Chekhov Lizardbrain (2008)
The OBIE-winning amalgam of faux-Russian tragicomedy and contemporary
neuroscience.

 

Start: Nov 21, 2016
End: Nov 21, 2016
Venue: Segal Theater
Category:
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November 28

Contemporary Opera NYC: Talks with Artists and Producers

hubble-cantata-antje

Photo from the premiere of ‘The Hubble Cantata’, presented by OneFifty partnered with National Sawdust

Monday, November 28
Segal Theatre
6:30pm Discussions

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

 

New York City is experiencing a renaissance of contemporary opera. Artists find boundary-pushing new expressions by crossing musical genres, creating stunning visuals, and defining new narratives. Join us to explore how and why experimental theatre artists successfully revive this art form, while classical opera is struggling. Artists and producers at the forefront of the contemporary New York opera scene
will present their works and discuss the radically changing landscape of the field.

 

Participating artists:
Jecca Barry (General Manager, Beth Morrison Projects); Lisa Bielawa (Composer); M. Lamar (Composer/Performer); Aaron Siegel (Composer/Producer, Experiments in Opera); Paola Prestini (Composer/Producer/Presenter, National Sawdust); Ashley Tata (Director); and Kristin Marting (Co-producer, PROTOTYPE and Artistic Director, HERE Arts Center).

Start: Nov 28, 2016
End: Nov 28, 2016
Venue: Segal Theater
Category:
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December 5

Italian Playwrights Project: SOMETHING ABOUT THE LEHMANS/Italy with Stefano Massini

Photo by Attilio Marasco

Photo by Attilio Marasco

Monday, December 5
Segal Theatre
6:30pm Artist talk 

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

Something About The Lehmans by Italian playwright Stefano Massini tells the story of the historic rise and fall of the Lehman Brothers investment house. This fictional book is based on Massini’s theatre plays The Lehman Trilogy, a five-hour saga that traces the legacy of the infamous banking family back three generations, beginning with their humble arrival to America in the mid‑1800s and ending with their empire’s eventual demise in 2008.

The play premiered at the Piccolo Teatro di Milano-Teatro d’Europa in 2015 and was the last work of legendary Italian theatre director Luca Ronconi. It has since been produced widely in Europe. Oscar Award-winning director Sam Mendes will be staging The Lehman Trilogy for the National Theatre in London. Join us for a conversation with Stefano Massini about his work, the history of the Piccolo Teatro di Milano, and contemporary theatre in Europe.

Italian Playwrights Project created by Valeria Orani (Umanism NY, www.umanism.com) and Frank Hentschker (Martin E. Segal Theatre Center) in collaboration with Giorgio Van Straten (Director, Italian Cultural Institute in New York (www.iicnewyork.esteri.it).

This event is made possible by the generous support of Joseph LoCicero/ The Segal Company.

piccolo_0931bdf3-1a9d-434b-adbd-db7d702a401f    umanism-logoiic-vector-newyork

Start: Dec 5, 2016
End: Dec 5, 2016
Venue: Segal Theater
Category:
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December 12

FEAST: Yoruba Project by The Royal Court Theatre and The Young Vic

Photo courtesy of Young Vic and Royal Court

Photo courtesy of Young Vic and Royal Court

Monday, December 12
Segal Theatre
6:30pm Reading + Discussion
 

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

The Segal Center presents a staged reading of Feast, a theatrical exploration with vibrant music and dazzling dance of the magnificent, cross-continental Yoruba culture. Followed by a discussion with
Elyse Dodgson, International Director, The Royal Court Theatre.

Originally produced in 2013 by the Young Vic and the Royal Court, this is the first presentation of Feast in the US. Afro-Caribbean traditions and ancestral lore come to life in this energetic work about three sisters who become divided at a crossroads on their way to a family dinner. From Nigeria in the 1700s through Brazil, Cuba, and the USA to London in 2013, the sisters survive by their spirits—spirits of courage, mischief, and incredible resilience.

Feast was written by playwrights Yunior García Aguilera (Cuba), Rotimi Babatunde (Nigeria), Marcos Barbosa (Brazil), Tanya Barfield (US), and Gbolahan Obisesan (UK) and originally directed by Rufus Norris. Artistic Producer: Elyse Dodgson.

This event is made possible by the generous support of Cecelia and Seward Johnson.

 

Photo courtesy of the artist

Photo courtesy of the artist

Elyse Dodgson has been a member of the Royal Court artistic team since 1985 – first, as Director of the Young People’s Theatre and, since 1995, as an Associate Director and Head of the International Department. She was the first director of the International Summer School (now the Royal Court International Residency) which she started in 1989, and has produced the Royal Court Young Writers Festival (1986-91) and MORE THAN 30 FULL PRODUCTIONS OF NEW INTERNATIONAL PLAYS AT THE ROYAL COURT SINCE 1997. Elyse has co-ordinated play development in many parts of the world including CHILE, CHINA, Cuba, Nigeria, Uganda, Mexico,LEBANON, Palestine, Russia, Syria, India, Brazil AND SOUTH AFRICA. She has also edited five anthologies of international plays, all published by Nick Hern Books, from Germany, Spain, Mexico and the Arab World. She was the recipient of the 2004 Young Vic Award and, in 2010, received an MBE for her contribution to ‘international theatre and young writers overseas’.

Start: Dec 12, 2016
End: Dec 12, 2016
Venue: Segal Theater
Category:
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December 19

Heiner Müller‘s Discovery of America

heiner-muller-in-texas-circa-1970-courtesy-of-jack-zipes-with-writting-v2_for-web

Heiner Müller in Milwaukee, Wisconsin, December 1975. Photo courtesy of Jack Zipes. With writting from Heiner Müller

Monday, December 19
Segal Theatre
All day Symposium + Screenings

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

Playwright, poet, and author, Heiner Müller (Jan. 9, 1929 – Dec. 30, 1995) is considered the most significant German dramatist of the 20th century after Bertolt Brecht. Müller’s Hamletmachine represents an iconic and enigmatic text in post-dramatic theatre that has been highly influential on a
global scale for writers, directors, and dramaturgs. During the 1970s, Müller received permission to temporarily leave East Germany to visit America. Müller’s journeys in the U.S. included cross‑country car trips and visits to San Francisco, Texas and New York City—an experience that ultimately changed the aesthetics of his work.

The Segal Center’s all-day symposium will trace Müller’s artistic and political thinking and artistic practice during his American journeys, where he witnessed the decline of Socialism at home and the rise of Neo‑Capitalism in the U.S. International theatre artists, scholars, friends, and former students
will revisit the dramatist’s journey through America with screenings, an exhibition of documentary materials, excerpted readings of selected work, short lectures, and panel discussions.

Screenings will include rehearsals directed by Heiner Müller of Mauser in Austin, Texas and Milwaukee, Wisconsin in 1975; Zement in Berkeley 1979 as well as as reading of Life of Gundling Lessing’s Sleep Dream Cry (LEBEN GUNDLINGS FRIEDRICH VON PREUSSEN LESSINGS SCHLAF/TRAUM SCHREI), a text Müller wrote partially in Austin. Additionally short interviews with Jean-Luc Godard, Wolfgang Schivelbusch, Betty Nance Weber, and others.

Invited participants: David Bathrick, Sue-Ellen Case, Terry GallowayJean‑Pierre Gorin, Frank Hentschker, Jost Hermand, Andreas Huyssen, Jonathan Kalb, Sylvère Lotringer, Bonnie Marranca, Klaudia Ruschkowski, Wolfgang Storch, Janet Swaffar, Arlene A TeraokaGinka Tscholakowa, and others (TBD).

Check website for updated schedule + screenings.

Findings from the Segal Center Heiner Müller in America Symposium will be presented in a follow-up symposium in Berlin, followed by a book publication. Curated by Wolfgang Storch and Klaudia Ruschkowski in collaboration with Frank Hentschker.

PAJ Publications is Heiner Müller’s American publisher.

The event is dedicated to Betty Nance Weber, who first invited Heiner Müller to the US as a Writer-in-Residence to the University of Austin, Texas, in 1975.

 

wolfgang-storch-photo-by-antonio-maria-storch

Wolfgang Storch was born in 1943 in Berlin. He studied dramatics, art history and German philology and works as a dramaturge, author, editor and curator. He was engaged at several German theatres, a.o. Schaubühne and Schillertheater Berlin, Schauspiel Frankfurt, and held professor- and lectureships at Freie Universität Berlin, at Hochschule der Künste Berlin, at Kunstakademie Düsseldorf, at the University of Frankfurt a. M. and at the Bavarian Theatre Academy. Since 1975, he writes essays and realizes books, scenic works, shows, workshops and symposiums on Heiner Müller. From 1997 to 2013 he was a board member of the International Heiner Müller Society. He published writings and curated numerous art exhibitions and programs on the relationship of the arts, on Italy and the Mediterranean, on the Greek Myths, on “Prussia and the poets”, on Richard Wagner, Bertolt Brecht, Heiner Müller, Luchino Visconti and Jannis Kounellis.

klaudia-ruschkowski_photo-by-antonio-maria-storch

Klaudia Ruschkowski was born in 1959 in Dortmund. She studied German language, literature and arts and works as a dramaturge, author, translator and curator. After engagements at several theatres in West and East Germany, she co-founded in 1991 the European Cultural Center in Thuringia, was one of the directors until 1997 and member of the publishing committee of Via Regia, international journal for cultural communication. From 1999 to 2010 she conceived workshops for the International Heiner Müller Society, in collaboration with Wolfgang Storch, and co-edited a series of volumes about Heiner Müller’s plays. She is known as a literature translator from Italian and English, collaborating since 1997 with the poet and painter Etel Adnan. She is the author of radio plays for Deutschlandradio Berlin, a.o. on Pier Paolo Pasolini and the painter Giuseppe Zigaina, on Mary de Rachewiltz and her father Ezra Pound.

Start: Dec 19, 2016
End: Dec 19, 2016
Venue: Segal Theatre
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