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April 29, 2016

PEN World Voices: International Play Festival 2016: Conchi León – Mestiza Power

Mestiza Power. Photo Credit: Saas Tun Company

Mestiza Power. Photo Credit: Saas Tun Company

Friday, April 29
7:30pm | Dixon Place
(161A Chrystie St. NYC. Subway: Grand Street, B/D)

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

Mestiza Power
Written by Conchi León (Mexico) & Translated by Virginia Grise
Directed by Debbie Saivetz

Based on real-life interviews, the play explores the complex world of the Mestiza, including mystical practice, domestic violence and the life of street vendors— the voices of today’s Mayan women. Through a series of monologues and interviews conducted with street vendors in Mérida, the capital of Yucatán, and other rural areas of the state, these stories paint a portrait of the faces, the thoughts, and the voices of contemporary women in Mexico. This reading will be followed by a conversation with Conchi León and Debbie Savietz.

Photo courtesy of the Artist

Photo courtesy of the Artist

Conchi León, born in Mérida, Yucatán in 1973, is a playwright, director, and journalist. Founder of the Municipal Theatre Company in Acapulco, her most representative work, Mestiza Power, is included in the Mexican Educational Theatre Anthology. She has developed educational theatre programs for mentally challenged children, homeless children, minor offenders and implements theatre as a means for social re-adaptation at the Federal Jail in Mérida. The Royal Court International Program (London) selected León to take part in the second playwriting seminar in Mexico City. León’s Santificarás las fiestas was nominated for the international prize of dramaturgy in Heidelberg. In 2011, the Human Rights Commission in Yucatán awarded her a prize for her social work through theatre. Her work has been translated into German, Czech, Portuguese, and English.

Photo by Dixie Sheridan

Photo by Dixie Sheridan

Debbie Saivetz has directed and developed new plays at New York, regional and international theaters such as the Foundry, Fulcrum, Clubbed Thumb, Rattlestick, E.S.T., Working Theater, Voice & Vision, Red Bull, INTAR, American Lyric Theater, the Lark, the Playwrights’ Center, Hartford Stage, the Goodman, the Guthrie, Long Wharf, Seattle Rep, Teatro Helénico and Lab Trece (Mexico City), La Casa de los Teatros (Oaxaca), and Teatro La Llave (Santiago, Chile). She performed in Exodus (LONEtheater), a site-specific intervention created by Argentine theater artist Matías Umpierrez for NYC’s Underground Zero Festival. She is a Drama League of New York Directing Fellow, a New Georges Affiliate Artist and 2015-16 Audrey Resident, an alumna of the Soho Rep Writer/Director Lab and was a resident director at New Dramatists. She teaches in the Department of Theatre and Dance at Montclair State University.

Learn more about The PEN World Voices: International Play Festival.

Start: Apr 29, 2016
End: Apr 29, 2016
Venue: Dixon Place
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October 5, 2016

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

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
Category:
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October 7, 2016

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
Category:
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December 19, 2016

Heiner Müller’s Discovery of America

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

Heiner Müller in Texas, circa 1975, courtesy of Jack Zipes. Text fragment: “Lautréamont Liberation of the Dead? Sohn der Toten [Son of the Dead].” Note from Heiner Müller from “Gundling’s Life Frederick of Prussia Lessing’s Sleep Dream Scream,” 1976.

Monday, December 19
Segal Theatre
All day Symposium 10:00am | 3:00pm |6:30pm

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 trips and visits to Austin, Milwaukee, Madison, San Francisco, and New York City; a second journey brought him also to Mexico and Puerto Rico — altogether 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, documentary materials, excerpted readings of selected works, short lectures, and panel discussions.

Screenings will include rehearsals of Heiner Müller’s play Mauser in Austin, Texas and Milwaukee, Wisconsin in 1975; Heiner Müller’s readings of parts of Life of Gundling Lessing’s Sleep Dream Cry, as well as Hamletmachine, and video excerpts of The man in the Elevator – part of  Heiner Müller’s play The Mission – directed by Heiner Goebbels, partly spoken by Heiner Müller.

Participants: Terry GallowayFrank Hentschker, Andreas Huyssen, Jonathan Kalb, Bonnie Marranca, Klaudia Ruschkowski, Wolfgang Storch.

Findings from the Segal Center Heiner Müller in America Symposium will be presented in a follow-up event 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.

 

EVENT SCHEDULE:

MORNING PROGRAM (10:00am – 1:00pm)
Heiner Müller in America
Screening: Mauser and A Weekend at the Beach

10:00am

WELCOME
by Frank HentschkerKlaudia Ruschkowski, and Wolfgang Storch

INTRODUCTION
by Klaudia Ruschkowski & Wolfgang Storch

VIDEO: Heiner Müller in America
Excerpt from the film, I don’t want to know who I am (Directed by Christoph Rüter, 2009)

10:30am

INTRODUCTION TO MAUSER
By Wolfgang Storch Klaudia Ruschkowski

VIDEO: Mauser (Austin, Texas; Directed by Fred Behringer, 1975)
Talk by Terry Galloway

12:30pm

Intermezzo
FILM: 
A Weekend at the Beach with Jean-Luc Godard (Directed by Ira Schneider, 1979; 9’59’’)
Heiner Müller with Jean-Luc Godard, Wim Winders and Jean-Pierre Gorin at San Diego.Additioanl black and white photos by Wim Wenders.

REMARKS

 

AFTERNOON PROGRAM (3:00pm – 5:15pm)
Heiner Müller in America: Conferences, Screenings, and Concerts

VIDEO: Money/Politics – Image/Word
(Heiner Müller speaking during the PEN congress, New York, 1983)

 

Part 1 (3:00pm – 3:40pm)
History in Contemporary Drama (Wisconsin Workshop, 1975)

INTRODUCTION
by Klaudia Ruschkowski and Wolfgang Storch
History in Contemporary Drama (Wisconsin Workshop, 1975)

READING of translated excerpts
from conference conversation by The AssemblyAbout History, Drama, Learning-Plays, Brecht and Artaud

 

Part 2 (3:40pm – 4:20pm)
Reflections on Post-Modernism
(93rd Annual Convention of Modern Language Association, 1978, New York)

INTRODUCTION by Andreas Huyssen (Columbia University)

READING of Reflections on Post-Modernism by Heiner Müller with The Assembly 

REMARKS

 

Part 3 (4:20pm – 4:30pm)
Heiner Müller’s Fatzer + – Keuner
(5th Brecht Congress, 28-31 March 1979, University of Maryland, College Park)

READING of excerpts
From Fatzer + – Keuner by Frank Hentschker

REMARKS

Part 4 (4:30pm – 5:15pm)

VIDEO-Interview: I have to learn to breathe the air of democracy Heiner Müller in New York, November 1989.

READING: Remarks from Heiner Müller about the inspiration for The Man in the Elevator.

VIDEO The Man in the Elevator (Frankfurt, 1987 and New York, 1989) Excerpts of the staged concerts, with words by Heiner Müller,composed and directed by Heiner Goebbels. Special cut by Heiner Goebbels for Heiner Müller’s Discovery of America Symposium.

 

EVENING PROGRAM (6:30pm – 9:30pm)

6:30pm

WELCOME
by Frank HentschkerKlaudia Ruschkowski, and Wolfgang Storch

INTRODUCTION
by Klaudia Ruschkowski & Wolfgang Storch

Part 1 (6:45pm – 7:30pm)
Mauser (Milwaukee, November 1975; Austin, December, 1975)

Andreas Huyssen on Mauser

Terry Galloway, Powerpoint PresentationMauser in Austin

Jonathan Kalb on his adaptation of MauserGulliver’s Choice, New York, 2003

Part 2 (7:30pm – 8:30pm)
Gundling`s Life Frederick of Prussia Lessing`s Sleep Dream Scream
The Hamletmachine (both written after US visit 1975/76)

FILM: A Weekend at the Beach with Jean-Luc Godard (Directed by Ira Schneider, 1979; 1’59’’)
Heiner Müller with Jean-Luc Godard, Wim Winders and Jean-Pierre Gorin at San Diego.
Memories of Wim Wenders. Additioanl black and white photos by Wim Wenders.

Klaudia Ruschkowski and Wolfgang Storch on Gundling`s Life Frederick of Prussia Lessing`s Sleep Dream Scream (1976; Projection of manuscripts)

FILM
Excerpt: Heiner Müller reads in German in Austin, 1978: Leben Gundlings, (Film by Ginka Tscholakowa)

READING of Lessing’s Sleep Dream Scream by The Assembly 

Frank Hentschker on Hamletmachine and short reading

FILM
Excerpt: Heiner Müller and actress in Bar in Austin,1978. Reading of Hamletmaschine (Part II and V)
(Film by Ginka Tscholakowa)

Part 3 (8:30pm – 8:45pm)
Publishing Heiner Müller in the U.S. 

Bonnie Marranca on Introducing Heiner Müller to the America

Part 4 (8:45pm – 9:15pm)
The Mission. Memory of a Revolution (written after US visit 1978) 

Jonathan Kalb on The Mission. Memory of a Revolution

READING of last scene of Heiner Müller‘s The Mission. Memory of a Revolution by The Assmebly

9.15pm – 9:30pm

REMARKS

 

ABOUT PARTICIPANTS

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 an author, translator, dramaturge, 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 an author, translator, dramaturge, 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.

Frank Hentschker who holds a Ph.D. in theatre from the now legendary Institute for Applied Theatre Studies in Giessen, Germany, came to the Graduate Center in 2001 as program director for the Graduate Center’s Martin E. Segal Theatre Center and was appointed to the central doctoral faculty in theatre in 2009. Among the vital events and series he founded at the Segal Center are the World Theatre Performance series, the annual fall PRELUDE Festival, and the PEN World Voices Playwrights Series. Before coming to The Graduate Center, Hentschker founded and directed DISCURS, the largest European student theater festival existing today; he acted as Hamlet in Heiner Müller’s Hamletmaschine, directed by the playwright, performed in the Robert Wilson play The Forest (music by David Byrne) and worked as an assistant for Robert Wilson for many years. Frank currently teaches Theatre History at Columbia University.

Terry Galloway is a writer, director and performer for stage, radio, video and film. She started her long, eclectic career in theatre arts in 1968 after the University of Texas at Austin’s Drama Department denied her admittance to its acting program. Before her cochlear implant in 2010, Galloway was a deaf lip reader with a lateral lisp. In 1969 she became affiliated with UT’s Shakespeare at Winedale Summer Theater Festival, first as a student, then from 1973-1976 as a Research Associate/Assistant Director, making a reputation for herself as a cross-dressing performer of comic male roles in Shakespeare. Her most recent solo show, You Are My Sunshine, a work-in‑progress about her new post-cochlear life in the world of sound, premiered at Cornell University’s Resoundingly Queer Conference in April 2012. Grants from Florida State University and DaDa Fest in Liverpool England, made it possible for Galloway to assemble an international cast of disabled actresses for a staged reading of her new ensemble musical-in-progress, The Ugly Girl, A Musical Tragedy in Burlesque presented at the Bluecoat, August 24, 2012 to great success.

Andreas Huyssen is the Villard Professor of German and Comparative Literature at Columbia University, where he served as founding director of the Center for Comparative Literature and Society (1998-2003). He chaired the Department of Germanic Languages from 1986-1992 and again from 2005-2008. In 2005, he won Columbia’s coveted Mark van Doren teaching award. His research and teaching focus on 18th-20th-century German literature and culture, international modernism, Frankfurt School critical theory, postmodernism, cultural memory of historical trauma in transnational contexts, and, most recently, urban culture and globalization. He currently continues work on two projects: a study of modernist miniatures, an experimental form of modernist writing, widespread in French and German modernism from Baudelaire to Rilke, Benn, Kafka, Kracauer, Jünger, Musil, Benjamin, and Adorno. And a consideration of the overlaps and tensions between the contemporary discourses of memory and human rights.

Jonathan Kalb has taught at Hunter College and the CUNY Graduate Center since the early 1990s. He served for six years as Chair of Hunter’s Theatre Department, is the founding editor of HotReview.org, The Hunter On-Line Theater Review, and is currently Literary Advisor at Theatre for a New Audience. Kalb has twice received the George Jean Nathan Award for Dramatic Criticism, awarded in 1991 for his book Beckett in Performance (Cambridge University Press) and his articles and reviews in The Village Voice and in 2012 for his book Great Lengths: Seven Works of Marathon Theater (University of Michigan Press). Great Lengths also won the George Freedley Memorial Award from the Theatre Library Association. Kalb is also the author of The Theater of Heiner Müller (Cambridge University Press, 1998). Two book collections of Kalb’s critical writing have been published: Free Admissions: Collected Theater Writings (Limelight Editions, 1993) and Play By Play: Theater Essays and Reviews, 1993-2002 (Limelight Editions, 2003).

Bonnie Marranca is publisher and editor of the Obie Award-winning PAJ Publications and PAJ: A Journal of Performance and Art which she co-founded in 1976. She has written three collections of criticism: Performance Histories, Ecologies of Theatre, and Theatrewritings, the recipient of the George Jean Nathan Award for Dramatic Criticism. Among the many anthologies she has edited are: New Europe: plays from the continent, Plays for the End of the Century; American Dreams: The Imagination of Sam Shepard; and The Theatre of Images, one of the seminal books of contemporary theatre. Her writings have been translated into seventeen languages. Marranca is a Guggenheim Fellow and Fulbright Senior Scholar who has taught in many universities here and abroad, including Columbia University, Princeton University, NYU, Duke University, the University of California-San Diego, Free University (Berlin), Autonomous University/Institute for Theatre (Barcelona), and University of Rio de Janeiro (Brazil). She is Professor of Theatre at The New School/Eugene Lang College for Liberal Arts.

The Assembly is a multi-disciplinary collective of six theater artists committed to realizing a visceral and intelligent theater for a new generation. The Assembly has created seven original works, including Home/Sick (2011, New York Times & Backstage Critics’ Pick), for which the Times dubbed the company “a cutting-edge young theater collective.” The company has performed at venues across New York such as The Incubator, The Prelude Festival, HERE Arts Center, and The Collapsable Hole and has toured to the Odyssey Theatre in Los Angeles, Wesleyan University, the Edinburgh Fringe (Fringe First nomination) and the Philly Fringe. Following development at IRT and NACL, The Assembly premiered its latest original work, I Will Look Forward to This Later, in April 2016 at the New Ohio as part of the Archive Residency. A feature essay about the company was published as the cover story of The Drama Review in fall 2016. www.assemblytheater.org

Start: Dec 19, 2016
End: Dec 19, 2016
Venue: Segal Theatre
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March 22

Create NYC: A Symposium and Town Hall

Photo by Julien Jourdes

Wednesday, March 22
Proshansky Auditorium
All day symposium and town hall

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

The Segal Center is partnering with New York arts and culture organizations to host a day of outreach, engagement, and strategy towards the creation of a new cultural plan for New York.

Who is this for? Artists, administrators, activists, community members…..Everyone who is committed to strengthening the NYC-based Arts and cultural landscape. We want to hear your voice.

The symposium will address issues of equity, access, affordability, and social and economic impact of the arts in our communities.

 

SYMPOSIUM SCHEDULE:

10:00am – 12:00pm Breakout Sessions:

  • Anti-Racism Training
  • Space and Real Estate
  • Collective Manifesto

2:00pm – 5:30pm 5 Minute Proposals and Presentations Open Call

6:30pm – 8:30pm Manifestos and Open Mic Town Hall

 

The all-day symposium features morning breakout sessions around themes and ideas generated from a series of breakfasts and meetings between cultural workers and organizations over many months leading up to this event.

The afternoon program features short presentations of direct proposals to the planning consultants, followed by an evening with short manifestos from NY arts organizations and a Town Hall discussion. In partnership with The Field, New Yorkers for Culture & Arts, Center for Arts Education, Smithsonian Museum of the American Indian, and Gibney Dance, the initiative grew out of the Cultural Agenda Fund’s efforts to supplement the official planning process conducted by the city and is supported by the New York Community Trust. This Create NYC event was organized by the Martin E. Segal Theatre Center, Brad Burgess and Frank Hentschker in close collaboration with The Field, New Yorkers for Culture & Arts, Center for Arts Education, Smithsonian Museum of the American Indian, and Gibney Dance.

Visit www.CreateNYC.org to learn more about the NYC Cultural plan and the work of the Hester Street Collaborative.

 

Invited are:
The Actors Fund
Amerinda
A.R.T. / New York
ArtsPool
Asian American Arts Alliance
BAAD
Catalyst
FAB
The Indie Theater Fund
Staten Island Arts Council
TCG: Theatre Communications Group
LITNY
NET
The New Black Fest
NYIT
Peoplmovr
Martin E. Segal Theatre Center
all CIGs, CEGs,
and more TBC.

                      

                      

 

 

Start: Mar 22, 2017
End: Mar 22, 2017
Venue: Proshansky Auditorium
Category:
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May 1

PEN World Voices: International Play Festival 2017: Patricia Cornelius – Shit

Photo by Sebastian Bourges

Monday, May 1
Segal Theatre
4:00pm

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

Shit
Written by Patricia Cornelius (Australia)
Directed by Katie Pearl
Discussion moderated by Peter Eckersall

Out of control girls, angry, nasty girls are a sight to behold. They’re terrifying, electrifying, they’re everything girls shouldn’t be, and we hate them. This is a work about these girls. Their names are Billy, Bobby and Sam.

Patricia Cornelius is a founding member of Melbourne Workers Theatre. She’s a playwright, novelist and film writer. Patricia has a fierce commitment to class and her work often examines the lives of the marginalized. Her work also includes dramaturgy and mentorship with young or new playwrights. Cornelius is a recipient of numerous awards including the 2015 Australian Writers’ Foundation Playwriting Award, the 2012 Patrick White Fellowship, and the 2014 Victorian Premier’s drama. Her plays have earned her 11 Australian Writers Guild awards. She has written over 30 plays including: Shit, Big Heart, Savages, Do not go gentle…, Slut, Love and The Call.

Katie Pearl is a director and writer of new plays and performance for both traditional and alternative spaces.  As co-Artistic Director of the OBIE Award-winning PearlDamour, the interdisciplinary company she shares with playwright Lisa D’Amour, her work has been supported by the Creative Capital Foundation, the Map Fund, and the NEA. Current projects include the multi-year Milton, a performance and community engagement experiment in 5 small towns named Milton around the country, and a new performance about climate and the deep ocean co-commissioned by the A.R.T. and the Harvard University Center for the Environment. Katie is currently an Anschutz Fellow at Princeton, where her teaching and research focus on the concept of the Artist-Citizen.

Peter Eckersall is Professor of Asian Theatre and Executive Officer of the Ph.D. Program in Theatre and Performance at the Graduate Centre, CUNY. 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 co-founder of Dramaturgies and was the resident dramaturg for the performance group Not Yet It’s Difficult.

 

Learn more about The PEN World Voices: International Play Festival.

Start: May 1, 2017
End: May 1, 2017
Venue: Segal Theatre
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May 1

PEN World Voices: International Play Festival 2017: Natal’ya Vorozhbit – Take out the Rubbish, Sasha

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
6:00pm

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

Take out the Rubbish, Sasha
Written by Natal’ya Vorozhbit (Ukraine) & translated by Sasha Dugdale
Directed by Sarah Hughes
Discussion moderated by Christian Parker

In Kiev, Katya and Oksana prepare a funeral meal for their beloved husband, stepfather and Army colonel Sasha. But he isn’t going without a fight. The women in his life and the country need him.

Natal’ya Vorozhbit was born in Kiev, Ukraine and studied at the Moscow Literary Institute. Her plays Demons and Galka Motalka have been staged in Moscow and at the National Theatre of Latvia. The Khomenko Family Chronicles, a joint commission from the Royal Court Theatre, London and the BBC World Service was staged as part of the Royal Court’s International Season in 2007. In 2009 the Royal Shakespeare Company produced her play Grain Store as part of the RSC’s Revolutions project. In 2015, Take the Rubbish Out was produced by the National Theatre of Scotland and is currently nominated for the “Golden Mask” Award in Russia. At the moment Natal’ya is under commission to the Royal Court Theatre, London.

Sarah Hughes is a director and producer of theater and film. Recent: Real Talk / Kip Talk by Eliza Bent (Abrons Arts Center); some higher glimmer in our landscape of flat by Cara Scarmack (Bushwick Starr Reading Series); The Object Lesson VR Short (NYTW) and Lincoln in the Bardo VR Short (The New York Times), both with Graham Sack; Afterward by McFeely Sam Goodman (Signature Theater / Columbia); A Star Has Burnt My Eye by Howard Fishman (The Brick). With Elevator Repair Service, she assistant directed Gatz, The Select, Arguendo, Shuffle, and Fondly, Collette Richland. She’s worked with Half Straddle, MoMA, Vox Theater, and Superhero Clubhouse, of which she is a Core Member. She is the Co-Artistic Producer of Target Margin Theater, a member of the 2016-17 New Georges Jam and Civilians R&D Group, and co-teaches a class on Contemporary Theater at Dartmouth College. Upcoming: A Woman Among Women by Julia May Jonas as part of the New Georges Jam at Dixon Place, May 17.

Christian Parker is a director, dramaturg, and Chair of the graduate Theatre program at Columbia University. He was the Associate Artistic Director of the Atlantic Theater Company from 2001-2014, and served as the Literary Manager of Manhattan Theatre Club for several seasons. He is a founding member of the new itinerant theatre company, New Neighborhood, where he is developing a new show with the theatrical band The Petersons. Notable directing projects include plays by Tina Howe, Leslie Ayvazian, Jeff Whitty, Ken Weitzman, David Auburn, Cusi Cram, Rolin Jones, and Laura Eason. He is the resident director of the Kenyon Playwrights Conference, and has developed work with the O’Neill, Sundance Theatre Labs, New Harmony and Perry-Mansfield, among others. He is a Tony nominator. BA, Middlebury College. MFA, Columbia.

Learn more about The PEN World Voices: International Play Festival.

Start: May 1, 2017
End: May 1, 2017
Venue: Segal Theatre
Category:
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May 1

PEN World Voices: International Play Festival 2017: Mîrza Metîn – Hungry Dogs

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
8:00pm

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

Hungry Dogs
Written by Mîrza Metîn (Turkey) & translated by Lucy Wood
Directed by Dan Safer
Discussion moderated by Eylül Akinci

Twin brothers Beşer and Beşir, who lost their parents in war, migrated as teenagers to Istanbul. After many years of separation they meet again, when Beşer enters Beşir’s house with a stolen safety box.

Mîrza Metîn is a playwright, director and an actor. He started his theatre training at Teatra Jiyana Nû in Istanbul. From 2003-2008 he worked at Seyr-î Mesel Theatre as an actor, teacher and studied dance and music at ITU State Conservatory’s Folk Dance department. Mîrza Metîn received numerous awards for his 10 plays, which he wrote in Turkish and Kurdish. Many of his works were created and performed with Şermola Performans, a theatre company, he cofounded in Istanbul together with Berfin Zenderlioğlu in 2008. At the moment Metîn is studying at Istanbul University Theatre Criticism and Dramaturgy, where he—among other topics—researches, revives and teaches Kurdish story teller traditions like Dengbêj and Çîrokbêj.

Dan Safer is Artistic Director of Witness Relocation (www.witnessrelocation.org) and has directed or choreographed all of their shows, ranging from fully scripted plays (including world premieres by Chuck Mee and English premieres by Toshiki Okada) to original dance/theater pieces to many things in between. Based in New York City, Witness Relocation is recognized as one of the “ensembles who now lead the city’s progressive theater scene” (Village Voice), and are the recipients of three New York Innovative Theater Awards. They perform frequently in dance and theater venues in NYC and internationally. Safer’s most recent show, The Loon, a collaboration with Robert M. Johanson (Nature Theater of Oklahoma) was recently a New York Times Critics Pick.

Eylül Fidan Akinci is currently a doctoral student in the Theatre Program at the Graduate Center of the City University of New York. She completed her MA in Critical and Cultural Studies at Boğaziçi University in 2013. Her research interests include dramaturgy, contemporary dance, physical theatre, posthumanism, necropolitics, and transfeminism. She founded one of the first online video archives for dance called “Contemporary Dance Video Database,” which is now part of Ubuweb. She discusses dance and performance related topics in her monthly podcast “The Last Minute Show,” presented in the Emisiones Cacatúa series on TV-Tron. She also works as an independent dramaturg.

Learn more about The PEN World Voices: International Play Festival.

Start: May 1, 2017
End: May 1, 2017
Venue: Segal Theatre
Category:
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May 2

PEN World Voices: International Play Festival 2017

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2017. As part of the 2017 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by nine of the world’s most respected dramatists. With the writers hailing from five different continents, the International Play Festival generates a conversation on art, politics, dreams, war, and philosophy, meant to give American audiences a rich awareness of the greater global dialogue. All readings will be followed by discussion with the playwright.

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


Monday, May 1 | Segal Theatre

4:00pm Shit
Written by Patricia Cornelius (Australia)
Directed by Katie Pearl
Discussion moderated by Peter Eckersall

6:00pm Take out the Rubbish, Sasha
Written by Natal’ya Vorozhbit (Ukraine) & translated by Sasha Dugdale
Directed by Sarah Hughes
Discussion moderated by Christian Parker

8:00pm Hungry Dogs
Written by Mîrza Metîn (Turkey) & translated by Lucy Wood
Directed by Dan Safer
Discussion moderated by Eylül Akinci


Tuesday, May 2 | Segal Theatre

4:00pm TranScenes: Four Short Plays from Brazil
Curated by Marcia Zanelatto (Brazil) & translated by Emily Walsh
Directed by Katherine Brook
Works by Marcia Zanelatto (Curator), Jô Bilac, Daniela Pereira de Carvalho, and Joaquim Vicente
Discussion moderated by Janet Werther

6:00pm Ticha-Ticha
Written by Hakim Bah (Guinea) & translated by Heather Denyer
Directed by Ethan McSweeney
Discussion moderated by Brooke Christensen

8:00pm Meteorites
Written by Sasha Marianna Salzmann (Germany) & translated by Jenny Piening
Directed by Mallory Catlett
Discussion moderated by Antje Oegel


Sunday, May 7 | Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)

4:00pm Desert of Light
Written by Rama Haydar (Syria)
Translated by Rama Haydar & Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

6:00pm Parallel Time
Written by Bashar Murkus (Palestine) & translated by Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

8:00pm Sister Mok-Rahn
Written by Eunsung Kim (South Korea) & translated by Dayoung Jeong
Directed by Seonjae Kim
Discussion moderated by Mia Chung

The PEN World Voices: International Play Festival 2017 has been made possible by the support of Susan and Jack Rudin(†) and Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

The PEN World Voices: International Play Festival was conceived, created, and curated by Frank Hentschker since 2007 in collaboration with PEN World Voices Festival. The 2017 Festival produced by Brooke Christensen (New York) in collaboration with Frank Hentschker and Antje Oegel. Co-curated by Antje Oegel. Assistant Curator: Soriya K. Chum.

The 2017 PEN World Voices Festival of International Literature: Gender and Power takes place from May 1 through May 7, 2017. This year’s festival gathers more than 100 writers and artists brought in from all over the world together with the United States’ leading literary and cultural luminaries to address the most pressing issues of the day – freedom of expression, international conflict, immigration and displacement, genocide, mass incarceration, race, policing, and women’s quality.

Founded by Michael Roberts, Esther Allen, and Salman Rushdie in the aftermath of September 11, 2001, PEN World Voices is the only international literary festival in the world with a human rights focus. It attracts the world’s best-known writers and has garnered broad global acclaim as one of the world’s premier literary events. Since its founding 12 years ago, PEN World Voices has presented more than 1,500 writers and artists from 110 countries, speaking 56 languages. www.penworldvoices.org

For the first time this year, the 2017 PEN World Voices Festival’s programming will reflect the vision of a diverse team of curators to explore the breadth of gender and power in all its dimensions. Chaired by Rob Spillman, founding editor of Tin House, the curatorial team includes Susan Bernofsky, Jennifer Finney Boylan, Kim Chan, Ram Devineni, Mona Eltahawy, Marlon James, Saeed Jones, Meg Lemke, Valeria Luiselli, Paul Morris, Chinelo Okparanta, Steph Opitz, Clarisse Rosaz Shariyf and Andy Tepper.
Suzanne Nossel, Executive Director of PEN America.

 

Start: May 2, 2017
End: May 7, 2017
Venue: Segal Theatre + Nuyorican Poets Cafe
Category:
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May 2

PEN World Voices: International Play Festival 2017: TranScenes: Four Short Plays from Brazil

Jô Bilac’s Venus Flytrap. Photo by Juliana Chalita

Tuesday, May 2
Segal Theatre
4:00pm

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

TranScenes: Four Short Plays from Brazil
Curated by Marcia Zanelatto (Brazil) & translated by Emily Walsh
Works by Marcia Zanelatto (Curator), Jô Bilac, Daniela Pereira de Carvalho, and JoaquimVicente.
Directed by Katherine Brook
Discussion moderated by Janet Werther

Short plays about gender identity in Brazil: a judicial fight, a dinner with a murderer, the death of the mother and a flower leads a rally.

Marcia Zanelatto lives and works in Rio de Janeiro, Brazil. She writes for theatre, television and cinema and teaches script writing. Her work often engages with ideas of racism, public security, and sexual and gender identity. She has received several awards, including the Brazil at Scene Award 2009 (Prêmio Brasil em Cena) for the play Time of Solitude (Tempo de Solidão), the Sexuality, Violence and Justice in the Favelas Award from the Ford Foundation with the play They ain´t Got No (Eles não usam tênis naique); and the 2014 Theatre Producers Association of Rio de Janeiro Award (Prêmio APTR) for Best Author, with the play Frumpness (Desalinho). In 2016, the Royal Exchange Theater, Manchester, UK, commissioned a new work for the Birth Festival, which resulted in her play The Birth Machine. Her work has been translated into English, Spanish, French and Swedish.

Jô Bilac was born in Rio de Janeiro and spent his childhood in Madrid. He co-founded the Cia de Teatro Independente (Independent Theatre Company) in 2007 with Vinicius Arneiro, Carolina Pismel, Paulo Verlings, and Julia Marini. The first two plays Cachorro! (Dog!) and Rebu (Turmoil) were performed with his company all over Brazil. Jô Bilac wrote Limpe todo Sangue Antes que Manche o Carpete (Clean All Blood Before it Stains the Carpet), Savana Glacial (Icy Savannah; Shell Award for Best Play, 2010), Popcorn and Gato Branco (White Cat). His 2013 play, Conselho de Classe (Class Council), won the Cesgranrio Award, APTR Award and the Shell Award for best play. Bilac was the artistic director of Teatro Glaucio Gil with actor Marcio Libar and was part of the dramadiario site (dailydrama web site) with six other playwrights from Rio de Janeiro.

In 2006 Daniela Pereira de Carvalho received, for her play There are no Safe Levels for the Consumption of These Substances, the Eletrobras-APTR Award for best author and was also nominated for the Shell Award for Best Text. She was also nominated for the 2006 EletrobrasAPTR Award for her piece Renato Russo: the musical. Another work, For a Less Ordinary Life, was also nominated for the Shell São Paulo Award for Best Text and for the Contigo Theater Award for Best Text in 2007.

Joaquim Vicente is a writer, director and independent producer. His career started in the film industry as an assistant producer before he moved to theatre. Of the seventeen plays he has directed, he also produced twelve of those works. On TV, he has worked as a writer for a French sex show, and for the Sunday live show Domingão do Faustão, among others. In 2012, he started his own production company, Teatro da Gente, and since then, he has also ventured into audiovisual arts. Other works by Vincente include: A Grande Viagem do Doutor Tchekhov (The Dr. Tchekcov’s Adventures) in 2004; Eu, Augusto dos Anjos (I am Augusto dos Anjos), which received the Prêmio Miryam Muniz in 2006; and Tragédias (Tragedies) in 2016.

Katherine Brook is a director of new experimental plays and performance and makes original work collaboratively with her theatre company, Katherine Brook / TELE-VIOLET. Her work has been presented at various venues in New York City and beyond, including The Public Theater’s Under the Radar Festival, The Provincetown Tennessee Williams Theatre Festival, Incubator Arts Project, Prelude NYC, and more. Recent credits include How to Get Into Buildings (New Georges), She Is King (with Laryssa Husiak, at Incubator Arts Project, and Boom Arts in Portland, Oregon), and Pink Melon Joy (Brave New World Rep and Cloud City in Brooklyn). Brook has also been a creative producer at The Foundry Theatre and New York City Players. She received her MFA from Carnegie Mellon University and her BFA from New York University’s Tisch School of the Arts, where she has since worked as a guest director.

Janet Werther (MFA Sarah Lawrence College; PhD in progress, The Graduate Center) is a scholar, practitioner, and arts educator. As an artist, Janet performs with the Ballez Company in NYC and occasionally produces solo works. Her research synthesizes dance, musical theatre, queer performance historiography, and cultural studies and her dissertation focuses on places of performance as sites of intergenerational queer exchange. Her writing is published in Studies in Musical Theatre and PAJ: A Journal of Performance and Art. She teaches at Baruch and Marymount Manhattan colleges. Janet also teaches dance to youth at the Brooklyn Arts Exchange (BAX).

Learn more about The PEN World Voices: International Play Festival.

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
, ,

May 2

PEN World Voices: International Play Festival 2017: Hakim Bah – Ticha-Ticha

Monday, May 2
Segal Theatre
6:00pm

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

Ticha-Ticha
Written by Hakim Bah (Guinea) & translated by Heather Denyer
Directed by Ethan McSweeney
Discussion moderated by Brooke Christensen

Ticha-Ticha awaits the return of Michael, the love of her life, who is, however, drawn to her daughter, Penda. This intense and poetic play deals with love, lust, female genital mutilation, and murder.

Photo Courtesy of Alexandre Gouzou

Born in Mamou, Guinea in 1987, Hakim Bah is both a playwright and a director. His plays have been staged in Africa, Belgium, and France. He is the recipient of numerous awards, including the Radio France International’s prestigious prize for best play. His plays have been published by Lansman and in Théâtre Ouvert’s Tapuscript collection. Hakim is also the artistic director of the “Universe of Words” festival in Guinea and the Paupières Mobiles theatre company in France.

 

 

Ethan McSweeny is a Brooklyn-based director whose interpretations of new plays, musicals, operas, and revivals has taken him all over the world — most recently to Dublin, Ireland with Florian Zeller’s The Father (Gate Theatre) and to his hometown of Washington, DC with a revival of his 2014 production of The Tempest (Shakespeare Theatre Company) and to Macau, China where his production of A Midsummer Night’s Dream opened the 2016 Macau Arts Festival.  Ethan has premiered works by John Logan (Never the Sinner), Kate Fodor (100 Saints You Should Know, Rx, Fifty Ways), Jason Grote (1001), Lee Blessing (A Body of Water), Regina Taylor (The Trinity River Plays), Noah Haidle (Mr. Marmalade) Rupert Holmes (A Time to Kill), Mark Victor Olsen (Cornelia), Steven Drukman (In This Corner), Anthony Clarvoe (Ctrl+Alt+Delete), and Thomas Bradshaw (Fulfillment). From 2004-2011, he was the co-artistic director of the Chautauqua Theatre Company.

Brooke Christensen is a Ph.D. candidate of Theatre and Performance at the Graduate Centre, CUNY. Her primary research interest is theatre and performance theory considering the intersection of art objects and actors bodies working as co-performers on stage and in visual culture. She was one of the co-founders of the Chicago artist collective Lucid Street Theatre, and she worked with the Rude Mechanical Theatre Company, a commedia dell’arte troupe in Eastbourne, England. She is honored to once again be serving as the PEN World Voices International Play Festival producer.

Learn more about The PEN World Voices: International Play Festival.

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
, ,

May 2

PEN World Voices: International Play Festival 2017: Sasha Marianna Salzmann – Meteorites

Photo by Esra Rotthoff

Tuesday, May 2
Segal Theatre
8:00pm

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

Meteorites
Written by Sasha Marianna Salzmann (Germany) & translated by Jenny Piening
Directed by Mallory Catlett
Discussion moderated by Antje Oegel

Germany is in the World Cup final; Berlin is dreaming again of a summer fairy tale to forget the world torn by wars. Inspired by Ovid’s Metamorphoses, Salzmann sends her protagonists on a seemingly endless search for a new self, which denies traditional concepts of identity.

Courtesy of Stefan Loeber

Sasha Marianna Salzmann is a playwright, essayist, curator, dramaturg and writer in residence at the Maxim Gorki Theater, Berlin. She is the co-founder of the magazine freitext and was the artistic director of STUDIO Я, which was named “best experimental work of the year” by DIE WELT newspaper in 2014. She also co-founded NIDS – New Institute for Drama, where she teaches and gives workshops on political writing. Her award-winning work has been translated and produced in over 20 countries. In 2016-17 she was voted “The playwright of the year” by the theatre magazine Deutsche Bühne. Salzmann´s first novel, Außer sich, will be published in September 2017.

Mallory Catlett is an Obie award-winning creator and director of performance across disciplines from Opera and Music Theater to Installation. She is the Artistic Director of Restless, a company designed to excavate the literary and theatrical cannon in creation of contemporary performance. The current project, M/F Future, is a pair of performances based on the novels of William Burroughs and Doris Lessing. In NYC her work has premiered at 3LD, HERE, Ontological-Hysteric, PS122, Abrons, Chocolate Factory, Roulette & the Collapsable Hole; featured at the Ice Factory, COIL, Prelude, Prototype and BAM’s Next Wave; and been developed at MTA, Barishnykov Arts, McDowell, Performing Garage, Abrons, HERE, Mabou Mines, LMCC and Yaddo; and toured internationally to Canada, France, UK, Ireland & Australia. She is a 2015 Foundation for the Contemporary Arts Grantee, a 2016 Creative Capital Awardee and an Assistant Professor of Theater Arts at Stonybrook University.

Learn more about The PEN World Voices: International Play Festival.

 

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
, ,

May 7

PEN World Voices: International Play Festival 2017: Rama Haydar – Desert of Light

Photo courtesy of the Artist

Sunday, May 7
Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)
4:00pm

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

Desert of Light
Written by Rama Haydar (Syria)
Translated by Rama Haydar & Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

As the brutal siege rages outside, two Palestinian refugees debate the best plan of escape. Set outside Damascus in the Yarmouk refugee camp, this black tragicomedy reveals the catastrophic absurdity of the Syrian civil war.

Rama Haydar is a Palestinian writer from Syria. She has written scripts for theatre, film, television, and radio. She studied English literature at the University of Damascus in Syria as well as theatre studies and criticism at the Damascus High Institute of Dramatic Arts. Her play Exile, (grant recipient, A. M. Qattan Foundation) focuses on the Palestinian refugees in Yarmouk, the main Palestinian camp in Damascus. Her short film Leaving Home, is a narrative documentary of her experience leaving Syria and relocating to Lebanon. She has also written over sixty episodes for the popular Lebanese television series Life School. Haydar resides in Spain where she has written several pieces for the site-specific micro theatre troupe HEXAGONO.

Rebekah Maggor is an artist and scholar whose work focuses on political theatre and theatre of protest. She translates, directs, devises, and researches theatre that questions entrenched power structures and pushes the boundaries of our contemporary political conversation. She co-edited, co-translated and wrote the introduction to Tahrir Tales: Plays from the Egyptian Revolution (Seagull Books) and she is currently co-editing, with Marvin Carlson and Mas’ud Hamdan, an anthology of new Palestinian drama, Theatre Between Home and Exile: New Palestinian Voices. Maggor has directed performances of her translations at the Huntington Theatre Company, the Segal Theatre Center, the ReOrient Festival, and at Harvard, Vanderbilt, and Cornell.  She has received grants from the Fulbright Scholar Program, the NEA, the Doris Duke Foundation, TCG Global Connections, the Radcliffe Institute, the Einaudi Center, and others. She is assistant professor in the Department of Performing and Media Arts at Cornell University.

Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center. He has received an honorary doctorate from the University of Athens, the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, and the Calloway Prize. He is the founding editor of the journals European Stages and Arab Stages; and the author of over two hundred and fifty scholarly articles in the areas of theatre history, theatre theory and dramatic literature. He is the director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy. Among his books are The Theatre of the French Revolution (1966), Goethe and the Weimar Theatre (1978), Theories of the Theatre (1984), Places of Performance (1989), Performance: A Critical Introduction (1996), The Haunted Stage (2001), Speaking in Tongues (2006), Theatre is More Beautiful than War (2009), The Theatres of Morocco, Algeria, and Tunisia (with Khalid Amine, 2012) and Hamlet’s Shattered Mirror (2016). His work has been translated into fifteen languages.

Frank Hentschker holds a Ph.D. in theatre from the legendary Institute for Applied Theatre Studies in Giessen, Germany. He came to the Graduate Center in 2001 as program director for the Martin E. Segal Theatre Center and was appointed to the central doctoral faculty in theatre in 2009. He taught Theatre History at the School of the Arts at Columbia University. Among the vital events and series he founded at the Segal Center are the World Theatre Performance series, the annual fall PRELUDE festival, and the PEN World Voices Playwrights Series. Before coming to the Graduate Center, Hentschker founded and directed DISCURS, the largest European student theatre festival existing today; he acted as Hamlet in Heiner Müller’s Hamletmaschine, directed by the playwright, performed in the Robert Wilson’s play The Forest (music by David Byrne) and worked as an assistant for Robert Wilson for many years.

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
Category:
, ,

May 7

PEN World Voices: International Play Festival 2017: Bashar Murkus – Parallel Time

Photo courtesy of the Artist

Sunday, May 7
Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)
6:00pm

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

Parallel Time
Written by Bashar Murkus (Palestine) & translated by Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

Parallel Time, a disturbingly humorous prison play, evokes the daily struggle of life behind bars for a group of Palestinian inmates. It follows their collective fight to overcome the despair of long-term incarceration.

Bashar Murkus is a Palestinian playwright and director and founding ensemble member of the Khashabi Theatre in Haifa. Through collective research he develops new plays that both reflect and engage with the regional Palestinian community. His work has been seen in Palestine, France, Belgium, Tunisia, Lebanon, and Morocco. As writer/director, his plays include Parallel Time, The Belli Belli Bel, Whips, Sitt Bel Uffeh and The Year of Snow. Recent productions as director include: Bye Bye Gillo by Taha Adnan, The Conference of the Birds by Farid ud-Din Attar, and A New Middle East by Motaz Abu Saleh. Murkus studied theatre at the University of Haifa, where he now teaches acting and directing.

Rebekah Maggor is an artist and scholar whose work focuses on political theatre and theatre of protest. She translates, directs, devises, and researches theatre that questions entrenched power structures and pushes the boundaries of our contemporary political conversation. She co-edited, co-translated and wrote the introduction to Tahrir Tales: Plays from the Egyptian Revolution (Seagull Books) and she is currently co-editing, with Marvin Carlson and Mas’ud Hamdan, an anthology of new Palestinian drama, Theatre Between Home and Exile: New Palestinian Voices. Maggor has directed performances of her translations at the Huntington Theatre Company, the Segal Theatre Center, the ReOrient Festival, and at Harvard, Vanderbilt, and Cornell.  She has received grants from the Fulbright Scholar Program, the NEA, the Doris Duke Foundation, TCG Global Connections, the Radcliffe Institute, the Einaudi Center, and others. She is assistant professor in the Department of Performing and Media Arts at Cornell University.

Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center. He has received an honorary doctorate from the University of Athens, the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, and the Calloway Prize. He is the founding editor of the journals European Stages and Arab Stages; and the author of over two hundred and fifty scholarly articles in the areas of theatre history, theatre theory and dramatic literature. He is the director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy. Among his books are The Theatre of the French Revolution (1966), Goethe and the Weimar Theatre (1978), Theories of the Theatre (1984), Places of Performance (1989), Performance: A Critical Introduction (1996), The Haunted Stage (2001), Speaking in Tongues (2006), Theatre is More Beautiful than War (2009), The Theatres of Morocco, Algeria, and Tunisia (with Khalid Amine, 2012) and Hamlet’s Shattered Mirror (2016). His work has been translated into fifteen languages.

Frank Hentschker holds a Ph.D. in theatre from the legendary Institute for Applied Theatre Studies in Giessen, Germany. He came to the Graduate Center in 2001 as program director for the Martin E. Segal Theatre Center and was appointed to the central doctoral faculty in theatre in 2009. He taught Theatre History at the School of the Arts at Columbia University. Among the vital events and series he founded at the Segal Center are the World Theatre Performance series, the annual fall PRELUDE festival, and the PEN World Voices Playwrights Series. Before coming to the Graduate Center, Hentschker founded and directed DISCURS, the largest European student theatre festival existing today; he acted as Hamlet in Heiner Müller’s Hamletmaschine, directed by the playwright, performed in the Robert Wilson’s play The Forest (music by David Byrne) and worked as an assistant for Robert Wilson for many years.

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
Category:
, ,

May 7

PEN World Voices: International Play Festival 2017: Eunsung Kim – Sister Mok-Rahn

Photo © Doosan Art Center

Sunday, May 7
Nuyorican Poets Cafe 
(236 E 3rd Street, Second Avenue/F Train)
8:00pm

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

Sister Mok-Rahn
Written by Eunsung Kim (South Korea) & translated by Dayoung Jeong
Directed by Seonjae Kim
Discussion moderated by Mia Chung

Desperate to reunite with her parents, a North Korean defector decides to return to her nation’s capital, Pyongyang. All she needs is 50 million won. Thus she is forced to navigate South Korean capitalism.

Eunsung Kim is a South Korean playwright and the Director of Dalnara Dongbakkot Company. He was born in Bosung in 1977 and lives in Seoul. He received his BFA in Directing at the Korea National University of Arts. His debut play, Shidong Rahsah, was awarded with the Korea Times Award for Best Play in 2006. Kim is the recipient of multiple awards including Daesan Creative Writing Funds, Dong-A Theater Award for Best Play, Doosan Artist Award, and Cha Bumseok Play Award. His major works include Sunshine Warriors, Sister Mok-rahn, Mother Yonbian, Hamik, Uncle Soonwoo, Lunar Soap Opera, Tideland (Bbul), and Bbang Bbang Bbang.

Seonjae Kim is a director based in New York City, originally from Seoul, South Korea. Riot Antigone, her Riot Grrrl musical adaptation of Sophocles’ tragedy, premiered at La MaMa Experimental Theatre Club in February 2017. Other credits: The Essential Ella Maythorne (Dixon Place) You’re Amazing!!!, That Noise (Williamstown Theatre Festival) A Midsummer Night’s Dream (Rabid Bat Theatricals) Cloud 9, A Perfect Wedding, Kafka on the Shore (Northwestern), Moksori (Chicago Fringe). Kim has worked with renowned directors such as Bill Rauch, Stafford Arima and most recently Pam MacKinnon on the new Broadway musical Amélie. Alumna of Directors’ Lab West, SITI Company Summer Workshop, Powerhouse Training Program, Williamstown Directing Corps, La MaMa Umbria Directors’ Symposium, Playwrights’ Retreat and Next Generation Residency. 2016 Van Lier Fellowship for Directing from the Asian American Arts Alliance & 2016 Mike Ockrent Fellowship from the Stage Directors and Choreographers Foundation. Upcoming: Associate Director, KPOP (Ars Nova/Ma-Yi/Woodshed Collective)

Mia Chung is the author of You For Me For You, Catch As Catch Can, and This Exquisite Corpse. You For Me For You had a UK premiere at The Royal Court Theatre, a world premiere at Woolly Mammoth Theatre, and multiple productions around the country; the play is published by Bloomsbury Methuen Drama. In addition to the 2016 Stavis Playwright Award, Mia has received much support: BAPF, Berkeley Rep, Blue Mountain Center, The Civilians, Hedgebrook, Huntington Theatre, Icicle Creek, Inkwell, LAByrinth, Ma-Yi Writers Lab, NEA, NYTW, Playwrights Realm, RISCA, South Coast Rep, Southern Rep, Stella Adler Studio, and TCG. She is a New Dramatist and a Jerome Fellow.

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
Category:
, ,

May 11

Approaching Dance: Transdisciplinary Methodologies and Modalities of the Moving Body in Performance The Doctoral Theatre Students’ Association 2017 Conference

Image © The Bureau for the Future of Choreography 21

Thursday, May 11
Segal Theatre

All day conference

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

Approaching Dance
Transdisciplinary Methodologies and Modalities of the Moving Body in Performance
The Doctoral Students Association 2017 Conference

Join us for an interdisciplinary conference organized by the Doctoral Theatre Students’ Association (DTSA) interrogating dance scholarship and methodologies. This day-long conference aims to discuss and exchange methodological approaches to dance and to build a network for emerging scholars inside and outside of dance studies. The day will culminate in a public round table discussion with Thomas DeFrantz (Duke), Nadine George-Graves (UCSD), VK Preston (Toronto), Katherine Profeta (Queens College, CUNY), and Paul Scolieri (Barnard), moderated by Erika T. Lin (The Graduate Center, CUNY).

Followed by a performance intervention by The Bureau for the Future of Choreography.

RSVP is required https://goo.gl/forms/FcA4rVPVDIoCZ4vo1

For more information, schedule, and RSVP form for roundtable and performance,
please visit:
http://approachingdance.com

This conference is presented by the Doctoral Theatre Students’ Association (DTSA, GC CUNY), The Martin E. Segal Theatre Center, and The Ph.D. Program in Theatre. With additional support from Marvin Carlson, Sidney E. Cohn Chair in Theatre Studies; David Savran, Vera Mowry Roberts Chair in American Theatre; and the Doctoral Students’ Council.

     

Start: May 11, 2017
End: May 11, 2017
Venue: Segal Theatre
Category:
, ,

October 4

PRELUDE 2017

Save the Dates! October 4, 5, and 6.

Start: Oct 4, 2017
End: Oct 6, 2017
Venue: Segal Theatre
Cost: Free
Category:
, , ,

October 23

2017 Gilder/Coigney International Theatre Award: Adelheid Roosen. Co-presented with the League of Professional Theatre Women

2017 League of Professional Theatre Women’s Gilder/Coigney International Theatre Award: Adelheid Roosen

Start: Oct 23, 2017
End: Oct 23, 2017
Category:
, , , ,
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