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April 28

The 2017 Edwin Booth Award: Taylor Mac

Taylor Mac by Teddy Wolff. Photo courtesy of artist.

Friday, April 28
Proshanksy Auditorium

7:00pm

Join us for an evening celebrating the groundbreaking work of Taylor Mac, American actor, playwright, performance artist, director, producer, and singer-songwriter. Taylor’s 24-hour, 246-song marathon performance, A 24-Decade History of Popular Music, was hailed by Wesley Morris in the New York Times as “one of the greatest experiences of my life.”

The Edwin Booth Award is given annually by the Doctoral Theatre Students’ Association to honor a person, organization, or company for their outstanding contribution to the NYC theatre community, and to promote integration of professional and academic theatre. Past honorees include: The Royal Shakespeare Company (‘83), Ellen Stewart (‘84), Joseph Papp (‘89), Arthur Miller (‘92), Richard Foreman (‘97), Tony Kushner (‘02), Karen Finley (‘08), The Living Theater (‘09), Elevator Repair Service (‘14) and Reverend Billy and the Stop Shopping Choir(’16). The event will feature live performances and a discussion with Frank Hentschker.

Presented by the GC CUNY Doctoral Theatre Students’ Association (DTSA; Elyse Singer, Second Vice President), in collaboration with The Martin E. Segal Theatre Center, and
GC Public Programs (Karen Sander, Director).

Additional support from Center for LGBTQ Studies (CLAGS), The Center for the Humanities at The Graduate Center CUNY, and the Doctoral Students’ Council Marvin Carlson, Sidney E. Cohn Chair in Theatre Studies; David Savran, Vera Mowry Roberts Chair in American Theatre.

          

Start: Apr 28, 2017
End: Apr 28, 2017
Venue: Proshansky Auditorium
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May 1

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.

 

Date: May 1
Venue: Segal Theatre + Nuyorican Poets Cafe
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May 10

Andrzej Wirth: A Century in the Landscape of Theatre

Photo by Carol Washburn (1967) and Pawel Kocambasi (2016)

Wednesday, May 10
Segal Theatre
6:30pm Conversation
+ 4:00pm Screening of Theatre Without Audience
by Pawel Kocambasi, 2014, Poland
www.knudsenstreuber.com

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

Join us for an evening with Andrzej Wirth, the legendary philosopher of theatre and founder of the ‘Applied Theater Studies’ in Giessen (Germany) in conversation with his former student Frank Hentschker. We will be celebrating Wirth’s interview biography, Flucht Nach Vorn (Fleeing Forward) by theatre critic Thomas Irmer, published in Germany by Spector Verlag, Leipzig (Polish translation in 2016 by Theater Institute, Warsaw). In the afternoon The Segal Center will screen the 2014 biographical documentary film on Wirth entitled Theatre Without Audience by Pawel Kocambasi, focusing on Wirth’s life and his experiments with Brecht’s play fragments of Downfall of the Egotist Johann Fatzer.

 

Photo by Antonio M. Storch, 2017, Berlin

Andrzej Wirth, as a literary and theatre critic as well as an editor in Warsaw, wrote on Witkiewicz, Grotowski, Mrozek and Kantor. He was an assistant at Brecht’s Berliner Ensemble and associated with the literary Gruppe 47. A mediator between Polish and German culture during a vital period, Wirth translated works by German writers Kafka, Dürrenmatt, and Brecht into Polish and edited works by Bruno Schulz, Tadeusz Borowski, and modern Polish dramatists. Following a political emigration to the USA in 1966, Wirth taught drama and comparative literature at Stanford University, moving to the City University of New York in 1970. Additionally, he directed plays at campus theatres. In the 1970s, Wirth was instrumental in introducing Gertrude Stein, Robert Wilson and American Avant-garde Theatre into German critical discourse. A former student of praxiology (the theory of praxis) at the Warsaw School of Analytical Philosophy, he was looking for its application in theatre studies. In 1982, he founded the first German Institute for Applied Theatre Theory (Angewandte Theaterwissenschaft) at the Justus Liebig University Gießen, garnering a national and international reputation for that program and inviting internationally reputed guests such as Heiner Müller, George Tabori, Michael Kirby, Robert Wilson, Richard Schechner, John Jesurun and Emma Lew Thomas. As a visiting professor, Wirth taught and directed at Harvard University, Yale School of Drama, Oxford University, St Antony’s College, and the Freie Universität, Berlin. He has conducted international theatre workshops in Sydney, Australia, and under the hospices of the Teatro de la Righe in Volterra, Italy, as well as at Oxford University. With Thomas Martius, he made films on Venice and Las Vegas and on Robert Wilson’s Watermill Center. A biographical documentary film on Wirth entitled Theatre Without Audience by Pawel Kocambasi premiered in 2014. The same year an interview biography, Flucht Nach Vorn (Fleeing Forward) by theatre critic Thomas Irmer was published in Germany (Spector Verlag, Leipzig; followed by a Polish translation in 2016(Theater Institute, Warsaw).

Start: May 10, 2017
End: May 10, 2017
Venue: Segal Theatre
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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
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May 15

50 Years of Theatre of the Ridiculous

Photo courtesy of the artists

Monday, May 15
Segal Theatre

6:30pm Readings + Conversation with Everett Quinton, et al.
+ 5:00pm Screening

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

50 years ago in New York City, the Theatre of the Ridiculous movement as a theatrical genre started in in 1965 with The Play-House of the Ridiculous, the spin-off group The Ridiculous Theatrical Company formed in 1967.

The Theatre of the Ridiculous made a break with the dominant trends in theatre of naturalistic acting and realistic settings and brought elements of queer/camp performance to avant-garde theatre. Cross-gender casting was common, scenarios improvised, and players often recruited from non-professional sources, such as drag queens or other “street stars.” In a reference to Martin Esslin’s concept of a theatre of the absurd, in 1965, Ronald Tavel promoted the first “Ridiculous” performances with the one-line manifesto: “We have passed beyond the absurd: our position is absolutely preposterous.”

With original Theatre of the Ridiculous company members Everett Quinton, Beth Dodye BassJulia Campanelli, Geraldine Dulex, Eureka, Jim Freeman, Chris Johnson, Lenys Sama, Kevin Scullin, and Jenne Vath.

 

Evening Program

6:30pm Excerpted play readings
Conquest of the Universe or When Queens Collide by Charles Ludlam
Turds in Hell by Charles Ludlam and Bill Vehr
Grand Tarot by Charles Ludlam

Afternoon Screening

5:00pm Scenes from the Ridiculous
edited clips from Ridiculous Theatrical Company 60 min

 

Photo courtesy of the artist

Everett Quinton made his stage debut in  the 1976  RIDICULOUS THEATRICAL COMPANY’S production of Charles Ludlam’s CAPRICE.  After that Everett became a member of the company and over 21 years appeared in about 100 productions including:  BLUEBEARD, CAMILLE, TURDS IN HELL, SALAMMBO, and LOVE’S TANGLED WEB among others.  Everett became Artistic Director of the company in 1987 after Charles Ludlam’s untimely passing. Everett is now a freelance actor and director.  He has appeared with The Penguin Rep, RedBull Theater, Yorick Theater, The Arizona Theater Co., The San Jose Rep, to name a few.

 

Start: May 15, 2017
End: May 15, 2017
Venue: Segal Theatre
Category:
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May 18

Dramaturgy in the Making with Katalin Trencsényi, Peter Eckersall, Bertie Ferdman

Photo credit: DESH, Akram Khan Company, photographer: Richard Haughton

Thursday, May 18
Segal Theatre
6:30pm Book Talk
+ 2:00pm Screenings

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

Join us in celebrating the new publication Dramaturgy in the Making: A User’s Guide for Theatre Practitioners by Katalin Trencsényi, published by Bloomsbury Methuen Drama in 2015. Trencsényi’s research maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice—institutional dramaturgy, production dramaturgy and dance dramaturgy—with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own “dramaturgical toolbox.” The book provides a detailed and precise insight into the dramaturgical processes at organizations such as the Akram Khan Company, les ballets C de la B (Ghent), the National Theatre and the Royal Court (London), the Schaubühne (Berlin) and The Sundance Institute Theatre Lab (Utah), among others.

Screening Schedule:
2:00pm One Day Pina Asked by Chantal Akerman (1983) 57 min
3:00pm Dancing Dreams by Anne Linsel and Rainer Hoffman (2010) 89 min
4:30pm VSPRS Show and Tell by Sophie Fiennes (2007) 72 min

 

 

Photo by Lilla Khoór

Katalin Trencsényi is a London-based dramaturg, researcher and associate lecturer at the Royal Academy of Dramatic Art (RADA). Katalin is co-founder of the Dramaturgs’ Network (d’n) and is a member of the d’n Advisory Board. Katalin is the co-editor of New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury Methuen Drama, 2014), and editor of Bandoneon: Working with Pina Bausch (Oberon Books, 2016).

 

Photo courtesy of the artist

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

 

Photo by Julien Jourdes

Bertie Ferdman is Assistant Professor at BMCC at the City University of New York, where she teaches theater studies courses and public speaking. Her essays have appeared in TDR, PAJ, Theatre Journal, Theatre Survey, and Performance Research. Her book, Off Sites: Contemporary Performance beyond Site-Specific, is forthcoming from SIU Press- its Theater of the Americas Series. She was co-editor of a Special Issue of Yale’s Theater Magazine on Performance Curating. Her essay from that collection is upcoming in an anthology titled Curating Live Arts: Global Perspectives, Envisioning Theory and Practice in Performance. Bertie is a graduate of Yale University, has a Masters in Performance Studies from NYU Tisch School of the Arts, and earned her PhD from The Graduate Center, CUNY.

 

Start: May 18, 2017
End: May 18, 2017
Venue: Segal Theatre
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May 22

Classix: A Reading Series Celebrating Classic Plays By Black Playwrights

Alice Childress,Kathleen Collins,Bill Gunn,and Ron Milner. Photo courtesy of the artists

Monday + Tueaday, May 22 +23
Segal Theatre

4:30pm + 6:30pm Readings

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

Please join us as we expand our collective knowledge of the classical canon with an exceptional group directors and actors for this unique series—curated by Awoye Timpo as “an exhibition of rarely seen Black classic plays.” Play readings are followed in the evening by a discussion with the theatre artists involved. Alice Childress, Kathleen Collins, Bill Gunn, and Ron Milner are just four out of a long line of writers whose extraordinary plays were produced in the 20th century. This series celebrates classic plays that feature dynamic characters, extraordinary dialogue, and compelling stories—all written by an eclectic group of Black writers, whose plays speak to their own time in a way that deeply resonates with our own.

Monday, May 22

4:30pm Wine in the Wilderness by Alice Childress
A timeless and thrilling play, Wine in the Wilderness (1969) revolves around a young girl who befriends an artist in the midst of painting his triptych. In this piece Childress explores the depths of Black womanhood.

6:30pm What the Wine-Sellers Buy by Ron Milner
Written in 1974, What the Wine-Sellers Buy was originally produced by Joseph Papp at the New York Shakespeare Festival at Lincoln Center. The play centers around Steve Carlton, a carefree high school student, who wrestles between his dream to become a professional basketball player and the other possibilities in his life.

Tuesday, May 23

4:30pm The Forbidden City by Bill Gunn
Bill Gunn’s final play, The Forbidden City, premiered at New York’s Public Theater in 1989. Set in the 1930s the play reckons with the nature of family and the excesses of love and power.

6:30pm The Brothers by Kathleen Collins
In this memory-drama, Collins weaves together a series of scenes and monologues about black men who “should have been born white’’ because they “spent their entire lives trying to jump out of their skins.’’ The Brothers (1982) was originally produced by the Women’s Project at the American Place Theater.

Playwright, novelist, actor, and screenwriter Alice Childress was a visionary artist. Born was in Charleston, South Carolina in 1916 she later moved to Harlem where she began writing and immersing herself in the vibrant arts scene. Ms. Childress wrote over a dozen plays over the course of her career including Florence, Wedding Band:
A Love/Hate Story in Black and White, Trouble in Mind, Mojo: A Black Love Story, and Wine in the Wilderness. She also wrote the novels Like One of the Family and A Hero Ain’t Nothin’ but a Sandwich which was later turned into a film. A Tony Award nominee for her performance in Anna Lucasta, Ms. Childress was also a tireless advocate for actor union rights.

Photo by Mark Reid

Born in 1942, raised in Jersey City, and educated at Skidmore and the Sorbonne, Kathy Collins was an activist with SNCC during the Civil Rights Movement who went on to carve out a career for herself as a playwright and filmmaker during a time when black women were rarely seen in those roles. She was married twice, and had
two children who she raised in Piermont, New York. She died young, at age 46, from breast cancer. Her most known work is the film Losing Ground, followed perhaps by two plays, In the Midnight Hour, and The Brothers. A never-before released collection of short fiction, Whatever Happened to Interracial Love?, was published by Ecco Press in Fall 2016. kathleencollins.org

Bill Gunn was an extraordinary artistic force with an exceptional body of work across various mediums. He began his career as an actor and appeared on Broadway in The Immoralist and off-Broadway in the classic play Take A Giant Step by Louis Peterson. Several of his plays were produced at the New York Shakespeare Festival
under the leadership of Joseph Papp and include masterpieces such as Black Picture Show, Johnnas, and The Forbidden City. In addition to his extensive work in the theater, Mr. Gunn wrote and directed films including his best-known work Ganja and Hess as well as the film Stop. He is also the author of two novels, All the Rest Have Died and Rhinestone Sharecropping. Bold, inventive, and surprising the work of Bill Gunn is impressively resonant and dynamic as ever.

Ron Milner was a legendary playwright with an extraordinary body of work including the plays Who’s Got His Own, Season’s Reasons, The Warning—A Theme for Linda, Jazz Set, and Roads to the Mountaintop which was a tribute to Dr. Martin Luther King Jr.. Born and raised in Detroit, his work is infused with a rhythmic and regional
authenticity and an uncompromising depth of character. His play Checkmates appeared on Broadway in a production directed by Woodie King Jr. and featuring extraordinary an exceptional cast including Denzel Washington, Ruby Dee, Paul Winfield and Marsha Jackson. Mr. Milner is also the author of the book for the musical Don’t Get God Started, written in collaboration with the Winans family.

Awoye Timpo is a New York-based director. Credits include Sister Son/ji (Billie Holiday Theater), Carnaval (National Black Theatre), Ndebele Funeral (59E59; South African tour; Edinburgh Festival), The Libation Bearers (Shakespeare Theatre NJ), Chasing the Bird (Joyce Theater), Children of the Road (NYU Grad Acting), In the Continuum (Juilliard), Tears of Anatolia (Columbia), Araby (La Mama), Clybourne Park (Farmers Alley), Ruined (WMU), The Vanished (Novisi, site-specific), Rhinoceros (Novisi). Broadway: Assistant Director, Shuffle Along; Associate Director, Jitney. Segal Center: PEN World Voices, Feast (Fall 2016), Other: Page 73, TerraNOVA, Ma-Yi, Royal Shakespeare Company, WNYC, ABC/Disney, Soho Rep Writer/ Director Lab, Cherry Lane Mentor Project, Lincoln Center Directors Lab.

Start: May 22, 2017
End: May 23, 2017
Venue: Segal Theatre
Category:
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May 30

Artist talk with Tadashi Suzuki (Japan)

Photo courtesy of the artist

Tuesday, May 30
Segal Theatre
12:00 Artist Talk with Tadashi Suzuki & Kameron Steele, with Frank Hentschker
+ 11:30am, 2:00pm, 2:15pm, 3:45pm Screenings

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

The Segal Center welcomes legendary Japanese theatre artist Tadashi Suzuki on his perhaps last visit to the United States.
Suzuki (born 1939 in Shimizu) is a theatre director, writer, and philosopher working out of Toga, Toyama, Japan. He is the founder and director of the Suzuki Company of Toga (SCOT), organizer of Japan’s first international theatre festival (Toga Festival). With director Anne Bogart he co-founded the Saratoga International Theatre Institute in Saratoga Springs, New York. He is the creator of the Suzuki Method of Actor Training. In conversation with Kameron Steele (editor and translator of Tadashi Suzuki’s Culture Is the Body) and Frank Hentschker.

Tadashi Suzuki will present his 2016 Theatre Olympics version of his 1986 signature work The Trojan Women in a rare performance at Skidmore College in upstate New York as part of the Transformation through Training: Symposium on the Suzuki Method of Actor Training, taking place May 31 – June 3 at Skidmore College in Saratoga Springs, NY. 
Please visit www.siti.org/symposium2017 for more information.
Questions? Contact SITI at symposium@siti.org.

Event Schedule

11:30am Special Feature Program on SCOT and Toga 2015 20min
12:00pm Conversation with Tadashi Suzuki, Kameron Steele, Frank Hentschker
2:00pm Interview with Tadashi Suzuki from 2015 15min
2:15pm Suzuki’s production of Chekhov’s Ivanov 2004 80min
3:45pm Documentary on Suzuki’s Taiwan production of La Dame aux Camélias 2011 56min

 

Tadashi Suzuki is the founder and director of the Suzuki Company of Toga (SCOT) based in Toga Village, located in the mountains of Toyama prefecture. He is the organizer of Japan’s first international theatre festival (Toga Festival), and the creator of the Suzuki Method of Actor Training. Suzuki also plays an important role with several other organizations: as General Artistic Director of Shizuoka Performing Arts Center (1995~2007), as a member of the International Theatre Olympics Committee, as founding member of the BeSeTo Festival (jointly organized by leading theatre professionals from Japan, China and Korea) and as Chairman of the Board of Directors for the Japan Performing Arts Foundation (2000~2010), a nation-wide network of theatre professionals in Japan.
Suzuki’s works include “On the Dramatic Passions”, “The Trojan Women”, “Dionysus”, “King Lear”, “Cyrano de Bergerac”, “Madame de Sade” and many others. Besides productions with his own company, he has directed several international collaborations, such as “The Tale of Lear”, co-produced and presented by four leading regional theatres in the US; “King Lear”, presented with the Moscow Art Theatre; “Oedipus Rex”, co-produced by Cultural Olympiad and Düsseldorf Schauspiel Haus; and “Electra”, produced by Ansan Arts Center/Arco Arts Theatre in Korea and the Taganka Theatre in Russia.
Suzuki has articulated his theories in a number of books. A collection of his writings in English, Culture is the Body is published by Theatre Communications Group in New York. He has taught his system of actor training in schools and theatres throughout the world, including The Juilliard School in New York and the Moscow Art Theatre. Also, a book written on Suzuki titled The Theatre of Suzuki Tadashi is published by Cambridge University Press as part of their Directors in Perspective series, featuring leading theatre directors of the 20th Century. This series includes works on Meyerlhold, Brecht, Strehler, Peter Brook and Robert Wilson among others.
Not just one of the world’s foremost theatre directors, Suzuki is also a seminal thinker and practitioner whose work has a powerful influence on theatre everywhere. Suzuki’s primary concerns include: the structure of a theatre group, the creation and use of theatrical space, and the overcoming of cultural and national barriers in the interest of creating work that is truly universal. Suzuki has established in Toga one of the largest international theatre centers in the world. Surrounded by the beautiful wilderness of Toga, the facility includes six theatres, rehearsal rooms, offices, lodgings, restaurants, etc.
Suzuki’s activities, both as a director creating multilingual and multicultural productions, and as a festival producer bringing people from throughout the world together in the context of shared theatrical endeavor, reflect an aggressive approach to dealing with the fundamental issues of our times.

 

Photo courtesy of the artist

Kemeron Steele In 1991, Kameron Steele joined Tadashi Suzuki’s SCOT company in Toga, Japan where he has since worked as an actor, assistant director, teacher and translator, appearing in KING LEAR,  IVANOV, and DIONYSUS among others.  From 1998-2007, Mr. Steele also worked at Robert Wilson’s Watermill Center, appearing in Wilson’s touring productions of PERSEPHONE, WOYZECK, THE DAYS BEFORE and the title role in PROMETHEUS.  In 2003, Steele formed The South Wing (alaSur) with Argentinean director Ivana Catanese.  Since then their work has been seen regularly in Argentina and in NYC at HERE Arts Center, Japan Society, Prelude Festival, PS122, LMCC, LIU and the Watermill Center. Steele is currently a guest lecturer at Williams College, where he directed Caryl Churchill’s THE SKRIKER last fall. He also leads the summer training program in Toga for SCOT.  His translation of Tadashi Suzuki’s CULTURE IS THE BODY was published by TCG in August, 2015. BFA: Northwestern   MFA: CalArts

Start: May 30, 2017
End: May 30, 2017
Venue: Segal Theatre
Category:
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