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October 7, 2015

PRELUDE 2015

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Oct. 7, 8, 9. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker.

Producer: Eryk Aughenbaugh.

Start: Oct 7, 2015
End: Oct 7, 2015
Venue: Segal Theater
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October 8, 2015

PRELUDE 2015

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Oct. 7, 8, 9. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker.

Producer: Eryk Aughenbaugh.

Start: Oct 8, 2015
End: Oct 8, 2015
Venue: Segal Theater
Category:
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October 9, 2015

PRELUDE 2015

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Oct. 7, 8, 9. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker.

Producer: Eryk Aughenbaugh.

Start: Oct 9, 2015
End: Oct 9, 2015
Venue: Martin E. Segal Theatre
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October 19, 2015

The New Black Fest: Un-Tamed: Hair Body Attitude – Short Plays by Black Women

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Monday, October 19
Segal Theatre
6:30pm Reading

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

In the tradition of Facing Our Truth: Short Plays on Trayvon, Race, and Privilege and HANDS UP: 6 Playwrights, 6 Testaments, The New Black Fest (in collaboration with playwright Dominique Morisseau) commissioned five Black women playwrights to participate and dig deeper into the national conversation around Black womanhood and social perceptions of Black femininity, providing Black women a creative platform to personalize these issues. The playwrights include Jocelyn Bioh, Chisa Hutchinson, Lenelle Moïse, Nikkole Salter, and Cori Thomas. Directed by Lileana Blain-Cruz.

Readings will be followed by a discussion with the playwrights, The New Black Fest’s dynamic Artistic Director Keith Josef Adkins.

The evening’s readings include:

MelaninIntervention by Chisa Hutchinson
The Hair Play by Cori Thomas
San Francisco Cab by Lenelle Moïse
White-­n-Luscious by Jocelyn Bioh
Peace Officer Privilege by Nikkole Salter

keith headshotKeith Josef Adkins (Artistic Director) is the artistic director of The New Black Fest, an organization dedicated to new and provocative playwriting, films and discussion from the African Diaspora. The New Black Fest recently commissioned Facing Our Truth: Ten-Minute Plays on Trayvon, Race and Privilege, HANDS UP: 6 Playwrights, 6 Testaments, and the newly-curated UN-TAMED: Hair Body Attitude—Short Plays by Black Women. Samuel French recently published Facing Our Truth in Spring 2015. As a playwright, his plays include The People Before The Park which will premiere at Premiere Stages in September 2015. His play Pitbulls received its world premiere Off-Broadway at Rattlestick Theater, NYC in November 2014. His play Safe House received its world premiere October 2014 at Cincinnati Playhouse in the Park with a subsequent production at Repertory Theatre of St. Louis (Winter 2015). His play The Last Saint on Sugar Hill received its New York City premiere in 2013 at Dr. Barbara Ann Teer’s National Black Theater in NYC. Other plays include The Final Daze, The Dangerous and Sugar and Needles. Keith is a recent recipient of a 2015 Helen Merrill Mid-Career Playwright Award.

 

Lileana Blain-CruzLileana Blain-Cruz (Director) Recent projects include a devised production of SALOME at Jack, the world premiere of Branden Jacobs-Jenkins play War at Yale Repertory Theater; Much Ado About Nothing at Oregon Shakespeare Festival; Arabian Nights at Hudson Valley Shakespeare Festival; Christina Anderson’s Hollow Roots at the Under the Radar Festival at The Public Theater; a new translation of The Bakkhai at the Fisher Center of Performing Arts at Bard College; A Guide to Kinship and Maybe Magic, a collaboration with Jacobs-Jenkins and choreographer Isabel Lewis at Dance New Amsterdam, and Awe/Struck recently developed at the Sundance Theater Lab Institute. She is the co-founder and director of the ensemble company Overhead Projector, which devises new work. She was an Artistic Associate of The Exchange and The Orchard Project, a member of the Lincoln Center Director’s Lab, and an Allen Lee Hughes Directing Fellow at Arena Stage. She received her MFA in directing from the Yale School of Drama. She was recently a 2050 Directing Fellow at New York Theater Workshop where she developed Tristan Tzara’s The Gas Heart and an adaptation of Alejandro Jodorowsky’s film El TOPO. Upcoming projects include Lucas Hnath’s Red Speedo at New York Theater Workshop and Alice Birch’sRevolt. She said. Revolt again at Soho Rep.

 

Jocelyn BiohJocelyn Bioh (Playwright) is a proud native New Yorker. As a playwright: African Americans (Southern Rep Ruby Prize Finalist 2011) Nollywood Dreams, FOUR, and the libretto for The Ladykiller’s Love Story currently in development with Hi-Arts NYC. B.A in English/Theatre from The Ohio State University, M.F.A in Theatre – Playwriting from Columbia University. Acting credits: Broadway: The Curious Incident of the Dog in the Night-time. Off Broadway: An Octoroon (Soho Rep) SEED (Classical Theater of Harlem) NEIGHBORS (The Public Theater) Regional: BootyCandy, Marcus; or the Secret of Sweet. TV: “Louie” (FX,) “One Life to Live” (ABC,) CoverGirl Spokesmodel (National Commerical/Print Ads.)

 

Chisa HutchinsonChisa Hutchinson (Playwright) B.A. Vassar College; M.F.A NYU – Tisch School of the Arts) has happily presented her plays Dirt Rich, She Like Girls, This Is Not the Play, Sex on Sunday, Tunde’s Trumpet, The Subject, Mama’s Gonna Buy You, Somebody’s Daughter, Alondra Was Here and Dead & Breathing at such venues as the Lark Play Development Center, SummerStage, Atlantic Theater Company, Working Man’s Clothes Productions, the BE Company, Partial Comfort Productions, Mad Dog Theater Company, the Wild Project, Rattlestick Theater, the New Jersey Performing Arts Center, the South Orange Performing Arts Center, the Contemporary American Theater Festival, and the Playwrights Theatre of New Jersey. She has been a Dramatists Guild Fellow, a Lark Fellow, a Resident at the William Inge Center for the Arts, a New York NeoFuturist and a staff writer for the Blue Man Group, and is currently a second-year member of New Dramatists. Chisa has won a GLAAD Award, the John Golden Award for Excellence in Playwriting, a Lilly Award, a New York Innovative Theatre Award, the Paul Green Award, a Helen Merrill Award, the Lanford Wilson Award, and has been a finalist for the highly coveted PoNY Fellowship. A recent foray into screenwriting won her Best Narrative Short at the Sonoma International Film Festival. By day, Chisa writes copy for a retail company. To learn more, visit www.chisahutchinson.com.

 

DominiqueMorisseau HeadshotDominique Morisseau (Collaborator) Playwright/Actress/Poet/Activist, is an alumni of the Public Theater Emerging Writer’s Group, Women’s Project Lab, and Lark Playwrights Workshop. Credits include: Skeleton Crew (Sundance; Lark Barebones); Detroit ’67 (Public Theater, Classical Theatre of Harlem/NBT); Sunset Baby (Gate Theater; LAByrinth Theatre); Follow Me To Nellie’s (O’Neill; Premiere Stages). She has produced other original works with the Hip Hop Theater Festival, Penn State University, American Theatre of Harlem and The New Group. Her 3-play cycle, entitled “The Detroit Projects” include Detroit ’67, Paradise Blue (developed with Voice and Vision, Hansberry Project, NYTW, McCarter Theatre, Williamstown Theatre Festival, and the Public Theater), and Skeleton Crew. Awards: Jane Chambers Playwriting Award, two-time NAACP Image Award, Primus Prize commendation, Stavis Playwriting Award, Spirit of Detroit Award, U of M Emerging Leader Award, Weissberger Award, PoNY Fellowship, Sky-Cooper New American Play Prize, The Graham F. Smith Peace Foundation Award, and the Edward M. Kennedy Prize for Drama.

 

Lenelle MoisesLenelle Moïse (Playwright) is the author of Haiti Glass (City Lights/ Sister Spit), an internationally-touring performer and a Huntington Theatre Company Playwriting Fellow. Her two-act comedy Merit won the 2012 Southern Rep Ruby Prize. She also wrote, composed, and co-starred in the critically acclaimed drama Expatriate, which launched Off Broadway at the Culture Project. Lenelle was the fifth Poet Laureate of Northampton, MA. For more info, visit: http://www.lenellemoise.com

 

Nikkole SalterNikkole Salter (Playwright) OBIE Award-winning actress and writer for the Pulitzer Prize nominated play, IN THE CONTINUUM. Other plays include LINES IN THE DUST which received its world premiere at Luna Stage, CARNAVAL which received its NYC premiere at Barbara Ann Teer’s National Black Theatre in Harlem, REPAIRING A NATION which received a NJ premiere production at Crossroads Theatre Company and the co-authored FREEDOM RIDER received its world premiere at the University of Missouri-Kansas City.  Ms. Salter is a 2014 MAP Fund Grant recipient, a Eugene O’Neill Theater Center National Playwrights Conference semi-finalist, a two time Playwright’s of New York (PoNY) Fellowship nominee, is currently working on commissions from Woolly Mammoth, the University of North Carolina @ Chapel Hill, and was selected to write the screen adaptation of Claude Brown’s New York Times Bestselling novel, Manchild in the Promised Land.  She also serves as Executive Director of THE CONTINUUM PROJECT, INC., a 501(c)3 non-profit organization that creates innovative artistic programming for community empowerment and enrichment. Their first bi-annual endeavor, The Legacy Program: Residency – an arts education, youth development initiative – launched in 2009 at the William Alexander Middle School in Brooklyn, NY.

 

Cori ThomasCori Thomas (Playwright) Her plays include: When January Feels Like Summer (World Premiere City Theatre Co., Pittsburgh); Pa’ s Hat (Pillsbury House Theatre, MN); Flight 109, My Secret Language of Wishes (Various theaters and University productions including Mixed Blood, MN); The Princess, The Breast, and, The Lizard; The Unusual Love Life of Bedbugs and Other Creatures. Cori’s plays have been developed and produced at Sundance Theatre Lab, Goodman Theatre, City Theatre Co. (Pittsburgh), Page 73, Rockefeller Brothers Fund, Playwrights Horizons, Lark Play Development Center, Ensemble Studio Theatre, Going To The River, Pillsbury House Theatre, Mixed Blood Theatre, National Black Theatre, Penumbra Theatre, Passage Theatre, The Playwrights Realm, New Federal Theatre, New Georges, The Black Rep (St. Louis), The New Black Fest, and Queens Theatre in the Park.  Awards and Honors: Edgerton New Play Award, Sundance Theatre Lab, and 2011 American Theatre Critics Association Osborn Award for Best New Play (When January Feels Like Summer). Cori is a co- founder of The Pa’s Hat Foundation, Inc. an organization focused on helping the former child soldiers of Liberia heal after the long standing civil war through focus on arts education and literacy.

 

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Start: Oct 19, 2015
End: Oct 19, 2015
Venue: Segal Theatre
Category:
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October 26, 2015

Theatre Communications Group: Publishing for the Theatre

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Photo: cover and text from Tadashi Suzuki’s Culture is the Body

Monday, October 26
Segal Theatre
6:30pm Discussion

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

Join us for an evening celebrating the work of Theatre Communication Group’s publishing wing with the publisher Terry Nemeth, Robert Weinert-Kendt (new editor of American Theatre magazine), and Kameron Steele (editor and translator of Tadashi Suzuki’s Culture Is the Body). Nemeth will highlight TCG’s unique contributions to the American landscape of theatre and introduce Weinert-Kendt who will outline his vision for American Theatre magazine. The evening will also feature a discussion of Culture is the Body, the writings of legendary theatre director Tadashi Suzuki, who created a video for the Segal evening.

Terry Nemeth has led TCG’s publishing programs since 1982. He helped launch American Theatre magazine, the only national magazine on theatre in the U.S., in 1984 and oversaw the expansion of the book program. Today’ TCG Books is the largest independent publisher of dramatic literature in North America and home to fourteen Pulitzer Prize-winning plays. Before joining TCG, he spent 14 years in the San Francisco Bay Area, where he co-founded Mudra, a literary publishing house, and was one of the original employee-owners of Bookpeople, which was the most prominent distributor for independent publishers in the country where he also directed its book imprint, Wingbow Press. He was awarded an Obie in 2004 for play publishing.

Kameron Steele was born in Duluth, Minnesota, raised in Baltimore, Maryland.  After receiving his BFA in Performance Studies from Northwestern University in 1991, Steele joined Tadashi Suzuki’s SCOT company in Toga, Japan, where he has since worked as an actor, translator, teacher and assistant director, appearing in King LearIvanov, Dionysus and Greetings from the Edge of the Earth, among others. From 1998–2008 Steele also worked extensively at Robert Wilson’s Watermill Center, appearing in Wilson’s touring productions of Persephone, The Days Before, Woyzeck and the title role in Prometheus. A graduate of the CalArts MFA directing program, Steele has presented works in New York City at HERE, P.S.122, PRELUDE, LMCC and the Public Theater, as well as on tour in Argentina, Mexico, Belgium and Spain. In addition to Suzuki’s writing, he has translated and/or adapted works by Yukio Mishima, Shuji Terayama, Kobo Abe, Masataka Matsuda and Mikuni Yanaihara, as well as the English subtitles for Kazuhiro Soda’s landmark documentary films Senkyo (Election) and Engeki (Theatre). Since 2011 he has led the Suzuki Method of Actor Training Summer Program in Toga along with Italian director Mattia Sebastian, and currently teaches at Williams College in Williamstown, Massachusetts.

Tadashi Suzuki is the founder and director of the Suzuki Company of Toga (SCOT), the organizer of Japan’s first international theater festival (Toga Festival), and the creator of the Suzuki Method of Actor Training. Suzuki has articulated his theories in a number of books. He has taught his system of actor training in schools and theaters throughout the world. Besides productions with his own company, he has directed several international collaborations.

Rob Weinert-Kendt is editor-in-chief of American Theatre. He was the founding editor-in-chief of Back Stage West and writes about theatre for the New York Times, Time Out NY, and the Los Angeles Times. He studied film at USC and is a composer member of the BMI Lehman Engel Musical Theater Workshop.

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Start: Oct 26, 2015
End: Oct 26, 2015
Venue: Segal Theatre
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November 2, 2015

Contemporary Theatre from Argentina: Matías Umpierrez

2 Distancia de MatiasUmpierrez Foto Matias Fabro

Matias Umpierrez’s Distancia. Photo by Matías Fabro


Monday, November 2
Segal Theatre
6:30pm Reading

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

Join us for an evening with one of Latin American’s most innovative emerging theatre directors, Matías Umpierrez (Buenos Aires)–a multidisciplinary artist who produces works in theatrical, audiovisual, and curatorial formats in theatres, museums, and non-conventional spaces around the world. Among Umpierrez’s projects are the recent TEATRO SOLO-LONE THEATER (site-specific performances for one audience member), DISTANCE (a virtual piece for live theatre), and his new project dramaHOME.

In addition to readings by Debbie Saivetz and April Sweeney, there will be a discussion with Matías Umpierrez led by GC CUNY professor of theatre and translator Jean Graham-Jones. Translator Mara Valderrama.

Watch the trailer about this event below:

Jean graham-jones

Photo Courtesy of the Artist

Jean Graham-Jones is a professor at the Graduate Center, where she currently heads the Ph.D. Program in Theatre.  A scholar and translator of contemporary Argentine and Latin American theatre, she is the author of Exorcising History: Argentine Theater under Dictatorship, Reason Obscured: Nine Plays by Ricardo Monti (ed. and trans.), BAiT: Buenos Aires in Translation (ed. and trans.), Timbre 4: 2 Plays by Claudio Tolcachir (ed. and trans.), and Evita, Inevitably: Performing Argentina’s Female Icons Before and After Eva Perón.  She was most recently seen performing in the world premiere of Terry Galloway’s The Ugly Girl at the 2014 Disability and Deaf Arts (DADA) Festival in Liverpool.

 

Debbie Saivetz Photo by Dixie Sheridan

Photo Courtesy of the Artist

Debbie Saivetz performed in Matías Umpierrez’s Exodus: LONEtheater in the 2014 NYC Underground Zero Festival. She 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 is a Drama League Directing Fellow, a New Georges Affiliate Artist, 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.

 

Sweeney Headshot Hi res

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April Sweeney most recently collaborated with Matías Umpierrez on the global site-specific theater project TeatroSOLO/LONEtheater and DISTANCIA, a virtual live streaming theater piece that explores the limits of theatrical experience in four languages. Her theater work has been seen in theater and festivals in Argentina, Belgium, Bolivia, Colombia, France, Ireland, and Hungary. In the U.S she has performed in regional theater, a national tour, off-Broadway and the independent New York theater scene. Favorite theater projects include: Karin Coonrod’s The Rover (NYCT); Jay Scheib’s This Place is a Desert (UTR/Public Theater) and Women Dreamt Horses (P.S. 122); Ashley Kelly Tata’s The Good Person of Szechwan; Stella in Streetcar Named Desire (National Tour); Untitled Mars (National Theater of Budapest), and Not from Canada (Monty Arts Center, Belgium). Film work includes: Brok Labrenz’s Any Other Normal; Leah Gelpe’s Julia, She Cried Alone; and a tiny cameo in Alejo Moguillansky’s Castro. April’s directing and writing credits include She, and the Empty Living Room; 4 Spanish speaking actresses stuck in a cherry orchard; Contemplations on a 4 Minute Macbeth; Atardecer 43, Federico León’s 1500 Meters Above Jack’s Level; and Wald, a wondertale in collaboration with the German singer and songwriter Kristina Jung. She holds an MFA in Acting from Columbia University and is associate professor of Theater at Colgate University.

 

Matias Umpierrez photo by Matias Tavolaro

Photo by Matias Tavolaro

Matías Umpierrez (1980, Buenos Aires) is a multidisciplinary artist who produces works in theatrical, audiovisual, and curatorial formats. For more than a decade his projects have been noted for their innovation by challenging the limits of their own media and creating a dialogue between video, live art, and urban interventions. Umpierrez’s urban theatre interventionTeatroSOLO (LONEtheater) originally premiered in Graus, Spain, and was subsequently presented in Buenos Aires by the Museo MALBA, Complejo Teatral de Buenos Aires, and Rituales del Pasaje. During 2014 TeatroSOLO (LONEtheater) premiered in New York City, San Sebastián, Sâo Paulo, and in 2015 in Madrid. In August 2013 he premiered DISTANCIA, a virtual play that challenges the limits of theatre with live performances (via streaming) from Hamburg, Paris, New York, and Buenos Aires with a live orchestra at the Teatro San Martín.  Distancia was later programmed for the International Festival of Buenos Aires (2013) and the International Theatre Festival of Manizales (Colombia 2014).

Other projects include Novela (theatre, 2006), Cuionera tropical (performance, 2006), La flauta mágica (opera, 2007), Gente favorita (theatre, 2008), 4 mujeres bailan (video, 2009), La tierra de las montañas calmas (theatre, 2010), Hotel Project (a collaborative intervention, 2011).  His short film “Paisaje” premiered in the official competition at Buenos Aires´s BAFICI (2013) and Cannes (2013 short film corner selection). “Paisaje” was presented subsequently in New York by the Film Society of Lincoln Center and the Museum of Modern Art as part of New Directors/New Films 2014. In 2015 Umpierrez will create “The Obsession Clinic,” a workshop and residency for artists in different cities, including San Sebastián, Caracas, and New York.

In 2007 Matías Umpierrez became the youngest theatre curator of Buenos Aires´s Rector Ricardo Rojas Cultural Center, where since then he has developed, curated, and programmed innovative projects, among them Opera Prima, Laboratorio Teatro; Panorama en Work-in-Progress, Proyecto Manual, Decálogo: indagaciones sobre los 10 mandamientos, Intervenciones/Rojas, and Proyecto Clásico. Projects like Opera Prima have led to the discovery of more than twenty emerging artists, and Umpierrez has mounted over eighty projects directed and written by prominent and emerging Argentine and international artists. In 2014 he founded “Festival Internacional de Dramaturgia Europea +América” (International Dramaturgy Festival Europe+America) in Buenos Aires. Recently Umpierrez was named by BGH as one of the 100 most innovative Argentine artists of the last 100 years. Honors and awards include Iberescena’s fellowship for young directors (2009) and an honorable mention in playwriting from Fondo Nacional de las Artes (2010) for his play Manual de instrucciones para un hijo sin vocación.

Mara Valderrama (translator) is a theatre PhD student at CUNY and an instructor of Speech Communication at Baruch College. She holds an MA in Theatre and Performing Arts from Complutense University of Madrid. She has been a Literature and Spanish Language high school teacher in Spain and the U.S. Her interests include gender studies, translation in theatre and performance, exile and migration and politics of representation.

 

Start: Nov 2, 2015
End: Nov 2, 2015
Venue: Segal Theatre
Category:
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November 9, 2015

Contemporary Theatre from Brazil

Julia Spadaccini_QuebraOssos Photo by Claudio Senra 1

Julia Spadaccini’s Quebra-Ossos. Photo by Claudio Senra

Monday, November 9
Segal Theatre
6:30pm Reading

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

Discover contemporary Brazilian playwriting at the Segal Center in a unique presentation of four readings of new plays from Brazil:

The Meal by Newton Moreno, translated by Elizabeth Jackson
Galápagos
 by Renata Mizrahi, translated by Luciana Malta

Directed by Tea Alagić.

The Front Door by Julia Spadaccini, translated by Ana Candida Carneiro
Fluxorama by Jô Bilac, translated by Elizabeth Jackson

Directed by Kaneza Schaal.

The readings will be followed by a panel discussion with the playwrights Jô Bilac and Renata Mizrahi.

The evening is co-curated by Brazilian producer Marcia Abujamra, in collaboration with Tom Sellar, editor of Yale’s Theater magazine, and guest co-editor Claudia Tatinge Nascimento in celebration of Theater magazine’s special fall edition of contemporary Brazilian dramas in newly commissioned English translations.

Marcia AbujamraMarcia Abujamra is a theatre director and producer. She directed Catraca (2014), five one act plays by Brazilian playwrights Jo Bilac, Noemi Marinho, Fernando Bonassi, Priscila Gontijo and Marcelo Romagnoli; A Casa Amarela (2011-2015), by Gero Camilo; Notas da Superfície, by Felipe de Moraes, a play developed during the 2009 Nucleo de Dramaturgia British Council/SESI; Looking for Headless (2008), performance by the Swedish couple Goldin+Senneby for the 28º Bienal Internacional de São Paulo; Dia de Visita (2007), by Noemi Marinho, Carícias, by Sergi Belbel, Van Gogh (1993-2004), adapted by Marcia Abujamra and Elias Andreato from Vincent Van Gogh’s letters to his brother Theo (Shell Award for best actor and lighting design, nominated for best director; APCA Award); the children’s plays A Bruxinha Atrapalhada (2009/2010), by Eva Furnari, adapted by Marcia Abujamra, APCA e FEMSA Awards for best original sound score, FEMSA Award for best set design, nominated for best director, best xroduction, best costumes, best adaptation, best play) and Pequena Ópera sobre o Vôo (1999 – 2000), adapted by Marcia Abujamra from Flight over the Oceand byBertold Brecht, Coca-Cola Award, Panamco Award for best light design and nominated for best play, sound score, set design and director, among other plays. She co-produced with Ricardo Fernandes Dispositivo Wooster Group Clélia 93 (2013); Tino Sehgal performances for the Pinacoteca do Estado de São Paulo (2013);Gospel at Colonus and Hajj (1997), by Lee Breuer/Mabou Mines, performers Karen Finley and Pat Oleszko, Temptation of Saint Anthony (1996) by The Wooster Group (1996).

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TEA ALAGIĆ Recent work includes: We Are Pussy Riot by Barbara Hammond (CATF, WV) Rechnitz by Elfriede Jelinek ( Artist in resident at TFANA) Washeteria by Charise Smith (Soho Rep) 4,000 Miles by Amy Herzog (Asolo Rep,Sarasota,FL)Romeo and Juliet by William Shakespeare (Classic Stage Company) Venus in Fur by David Ives ( Asolo Rep, Sarasota, FL) Jackie by Elfriede Jelinek ( Women’s Project,City Center Stage II) The Brothers Size by Tarell McCraney (The Old Globe, San Diego)A Light Design by Brandon Jacobs- Jenkins (Baryshnikov Art Center), Petty Harbour by Martyna Majok (Carlotta Festival) Man Of La Mancha a book by Dale Wasserman, lyrics by Joe Darion, music by Mitch Leigh (Burning Coal Theatre Company, Page 73,NYC), Waking Up by Cori Thomas (EST, NYC); Anonymous by Naomi Iizuka (Hispanic Cultural Center, Albuquerque); The Marriage Of Maria Braun by Rainer Werner Fassbinder (ZKM, Croatia); Binibon by Jack Womack and Elliot Sharp (The Kitchen, NYC); Events with Life’s Leftovers by Alberto Villarreal Diaz (Dramafest, Mexico City); and Aliens With Extraordinary Skills by Saviana Stanescu (Women’s Project, NYC). She directed the world premiere of The Brothers Size by Tarell McCraney at The Public Theater, NYC, and later productions at The Studio Theatre in Washington, DC, and The Abbey Theatre in Dublin. Her original devised work includes The Filament Cycle, which performed at La Mama ETC, NYC, the 4+4 Festival in Prague, BAC London, Philadelphia, Colorado, Denver, and Potsdam; and Zero Hour, about the Balkan War. Other directing work from this period includes Man Have Called Me Mad, One Day in Moscow, Cerebral Events and Sam Perspective. She was Associate Artistic Director of the Ensemble Company for the Performing Arts in New Haven, where she directed Woyzek by George Buchner, Self–Accusation by Peter Handke, Preparadise Sorry Now by Rainer Werner Fassbinder, Baal by Berthold Brecht and Zero Hour. Alagic holds a BFA in acting from The Charles University in Prague and an MFA in directing from Yale School of Drama.

Jo Bilac, Photo by Thadeu NogueiraJô 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 Bilac’s, and the company’s, first hits and were performed 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. He 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.

foto RenataRenata Mizrahi is from Rio de Janeiro, graduated from UNIRIO, co-founded the company Teatro de Nós/Theatre of Us with Diego Molina, Elisa Pinheiro and Letícia Medella in 2005. She wrote Galápagos (Shell Award/2015), Coisas que a Gente Não Vê/Things We Don’t See and Joaquim e as Estrelas (Zilka Salaberry Award 2012 and 2010). She was also nominated to the Cesgranrio Award, FITA Award and Botequim Cultural Award with her play Silêncio/Silence (2014). She also wrote Os Sapos/The Frogs (2013, nominated as best play for the Zilka Salaberry Award), Nadistas e Tudistas (2013), Bette Davis e a Máquina de Coca-Cola/Bette Davis and the Coca-Cola Machine, O Jardim Secreto/The Secret Garden, Momo e o Senhor do Tempo/Momo and The Lord of Time, Caixa de Phósphouros/Box of Phosphorous, among other plays. She is a Dramaturgy Professor and Dramaturg at Projeto Manguinhos em Cena at the Parque de Manguinhos Library/Rio de Janeiro.

PhotoNEWTON MORENO By ALEX RIBEIRONewton Moreno was born in Recife, in the Northeast of Brazil. A Performing Arts graduate at Universidade Estadual de Campinas (UNICAMP), he holds masters and doctorate degree at Universidade de São Paulo (USP). He was in the faculty of ELT (Escola Livre de Teatro de Santo André-a theater college) and São Paulo School of Drama (SP Escola de Teatro), in charge of playwriting. He participated as an actor/director in several plays and in 2001 he staged his first text, Deus sabia de tudo e… (God knew all about it and….). Since then he has written other plays, including AGRESTE (DRYLANDS), which won several awards. A REFEIÇÃO (THE REPAST) was developed during International Residency Project at Royal Court Theatre in London (England) and was performed in Brasil and Argentina.

TN photo CROP[1]Cláudia Tatinge Nascimento is a scholar and artist. The author of Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge (Routledge, 2008), her current scholarly project examines the contemporary performances of the Brazilian post-dictatorship generation. Her articles appear internationally in journals such as TDR, Theatre Research International, Biblioteca Teatrale, Didaskalia, and A[l]berto. Tatinge Nascimento began a professional stage career while living in Rio de Janeiro, Brazil. In the United States, Tatinge Nascimento performed with Cleveland’s New World Performance Laboratory in Europe, North and South America, and participated in Jerzy Grotowski’s final Objective Drama Session at the UC-Irvine. In New York City she staged Pornographic Angel, her published adaptation of Nelson Rodrigues’ short stories, and will direct a site-specific original piece in Dublin in 2016 while a Trinity Long Room Hub fellow. Tatinge Nascimento is an Associate Professor at Wesleyan University.

Tom Sellar Headshot_No Photo Credit NeededTom Sellar is editor of Yale’s international performance journal Theater. Under his editorship since 2003, Theater has published plays, criticism, reportage and creative dossiers by leading global artists and authors. Tom is professor of Dramaturgy and Dramatic Criticism at Yale University, where he teaches courses in contemporary global performance and theater, critical practice, and performance curating. He currently serves as chief theater critic of the Village Voice, where he has written about New York performing arts since 2001. Tom curates public programs at Yale and for organizations including Philadelphia Fringe Arts and the Prague Quadrennial. A New York City native, he is a proud resident of Brooklyn.

Kaneza Schaal headshotKaneza Schaal is a New York City based artist. She came up in the downtown experimental theater community, first working with The Wooster Group, then with other companies and artists including Elevator Repair Service, Richard Maxwell/New York City Players, Claude Wampler, Jay Scheib, Jim Findlay, New York City Opera, and National Public Radio. This work brought her to over 18 countries and venues including Centre Pompidou, Royal Lyceum Theater Edinburgh, REDCAT, The Whitney Museum, BAM, The Kitchen, St. Ann’s Warehouse, and MoMA. Schaal ’s new work, GO/FORTH was commissioned by Performance Space 122 with support from the Jerome Foundation 50th Anniversary Grant. Schaal was an Artist in Residence at the Baryshnikov Arts Center and received a 2014 Princess Grace Award grant, Lower Manhattan Cultural Council Process Space residency, Bogliasco Fellowship and Princess Grace George C. Wolfe Award. She was a member of Kara Walker’s 6-8 Months Space, a featured artist in Fortnight Journal, and her video work appeared in Visionaire. Schaal has been invited to speak at New York University, Yale University, BAM, Brooklyn Book Festival, the River-to-River Festival and her alma mater Wesleyan University, CT.

mmorteira@hotmail.com

Julia Spadaccini (Rio de Janeiro) wrote Aos Domingos, O Céu Está Vazio, Os Estonianos, Um Dia Qualquer, Quebra-Ossos, A Porta da Frente among other plays. She was the screenwriter of the film Qualquer Gato Vira-lata, produced by Tietê Filmes, Simpatia do Limão (winner of Porta-curtas Petrobrás Award, Rio de Janeiro’s Film Festival/2010), and also of the TV series Oscar Freire 279 (Multishow/2011) and of TV programs Aprender a Empreender (Canal Futura/2010), Básico,and Quase Anônimos (Multishow/2009).  She was part of the “Dramadiário” website for three years, worked as comic books screenwriter for Editora Globo (2006/2007) and for film production companies Jodaf Mixer and Conspiração Filmes (2008/09). She developed the argument for the film Isolados (2014) and is currently presenting A Vida Sexual da Mulher Feia, a monologue she wrote for actor Otávio Muller. Spadaccini won the Fita Award (2013) and Shell Award (2013) for her play A Porta da Frente and was nominated for Shell Award (2012), APTR, CESGRANRIO (2013). She now works as screenwriter for TV program Tapas e Beijos (Rede Globo) and for the series AMORTEAMO (Rede Globo).

Start: Nov 9, 2015
End: Nov 9, 2015
Venue: Segal Theatre
Category:
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November 16, 2015

Fassbinder and the Stage

Fassbinder © Rainer Werner Fassbinder Foundation

Photo © Rainer Werner Fassbinder Foundation

Monday, November 16

Segal Theatre
3pm Screenings + 6:30pm Readings, Discussion

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

A day honoring the work of legendary German filmmaker, screenwriter, and actor Rainer Werner Fassbinder, who would have turned 70 this year. Rainer Werner Fassbinder died at the age of 37 after having completed forty feature films, two television series, and twenty-four stage plays in less than fifteen years. Fassbinder began his highly influential career directing and acting for the theatre before becoming the leading force in the new German cinema.

The afternoon will feature rare documentaries related to Fassbinder’s theatre work. The evening will start with an introduction of Fassbinder’s theatre work, followed by an interview via skype with Juliane Lorenz, widow of Fassbinder, editor of his last films and head of the Fassbinder Foundation. We will talk about Fassbinder’s continuing influence worldwide. The evening will also feature three excerpted readings and a discussion about Fassbinder, the stage, and his influence on the current generation of theatre makers including Jess Barbagallo, Caitlin Ryan O’Connell, and Ashley Tata. Co-curated by Antje Oegel.

This event is made possible with generous support from Juliane Lorenz of the Fassbinder Foundation and Verlag der Autoren.

Fassbinder’s theatre work has been published through PAJ Publications. Bonnie Marranca, Editor. Please contact: pajpub@mac.com
Stage rights, please contact AO International Agency at info@aoiagency.com

 

Screenings
3:00pm – 5:00pm

Rainer Werner Fassbinder – der Theatermensch (Rainer Werner Fassbinder – Man of the Theatre)
by Bruno Schneider/Metropolis Film
Documentary | 2002 | 45 minutes
US Premiere | Live translation

Ende einer Kommune (The End of a Commune)
by Joachim von Mengershausen
Documentary | 1970 | 50 minutes
A documentary about Fassbinder’s legendary company anti-teater.

 

Readings
6:30pm

Bremer Freiheit (Bremen Freedom)
Translation by Denis Calandra
Excerpt directed by Jess Barbagallo

Katzelmacher
Translation by Denis Calandra
Excerpt directed by Ashley Tata

Die Bitteren Tränen der Petra von Kant (The Bitter Tears Of Petra von Kant)
Translation by David Tushingham
Excerpt directed by Caitlin Ryan O’Connell

Readings followed by a discussion with the directors.

 

Jess M Barbagallo

Jess Barbagallo is a an actor, writer, dramaturg and director. He has performed and collaborated with Big Dance Theater, Theatre of a Two-Headed Calf (and its Dyke Division), Builders Association, Half Straddle, Tina Satter, Andrea Geyer, Casey Llewellyn, The Drunkard’s Wife, Hoi Polloi, Cat Galasso, Katherine Brook, Trish Harnetiaux, Nellie Tinder/Julia May Jonas, Eliza Bent, Becca Blackwell and Jody McAuliffe. Jess has written the plays Grey-Eyed Dogs, I’ll Meet You in Tijuana, Saturn Nights, Men’s Creative Writing Group, Good Year for Hunters and Great Romance, and is responsible for the ongoing comedy Without Me I’m Something or Karen Davis Does … Jess was a 2009-10 Soho Rep Writer/Director Lab Member, 2011-12 Queer Arts Mentorship Fellow, 2012-13 BAX Artist-in-Residence, a 2013 MacDowell Colony Fellow, and a 2014-15 New York Live Arts Writer-in-Residence. He has been published in The Brooklyn Rail, BOMB Blog, The Poetry Project Newsletter, by 53rd State Press and at homoflix.wordpress.com, a review site for gay and lesbian Netflix. Currently, Jess is a participant in the Persona Seminar at The New Museum, a think tank composed of artists and academics exploring urgent themes (like persona) in contemporary culture. Melancholy over feminism, but persistently feminist. BFA: Acting, New York University, Tisch School of the Arts, Experimental Theatre Wing.  MFA: Playwriting, Brooklyn College (Advisor: Mac Wellman).

Ashley TataAshley Tata is a Brooklyn-based theater & opera director. Recent credits include the world premiere of Mojiao Wang’s opera Encounter at the National Center for the Performing Arts in Beijing as part of the Beijing Modern Music Festival; David T. Little’s Soldier Songs with video by Bill Morrison (Atlas Theatre, DC and the Holland Festival, produced by Beth Morrison Projects); Guard (2014) (part of The House is Open at the Fisher Center, Bard College); Venture Opera’s Don Pasquale (National Opera Center, NYC and Kay Meeke Center, Vancouver); Lainie Fefferman’s Here I Am (Roulette Intermedium, NYC); Into the Woods (LIU Post); The Censorship of Lillian Hellman’s The Children’s Hour (Martin E. Segal Center); Rebecca Gilman’s The Glory of Living (Revolve Productions, NYC); Menotti’s The Telephone (Alchemical Theater Laboratory, NYC). She has assisted Rinde Eckhert, Daniel Fish and Robert Woodruff, among others. BA Marymount Manhattan College. MFA Columbia University. www.ashleykellytata.com

Caitlin Ryan O'Connell

Caitlin Ryan O’Connell is in her third and final year at Brown/Trinity Rep MFA in Directing. At Brown/Trinity: Shakespeare’s Cymbeline, Will Eno’s GNIT, The Bitter Tears of Petra Von Kant by Rainer Werner Fassbinder and her upcoming fall thesis production of The Love of the Nightingale by Timberlake Wertenbaker. Caitlin is a former directing intern at Actors Theatre of Louisville. She has worked with The Eugene O’Neill Theater Center, LCT3, Trinity Repertory Company and Clubbed Thumb. Caitlin trained with the National Theater Institute, St. Petersburg Theatre Arts Academy, The Royal Shakespeare Company, Simon McBurney’s Complicite, and The NY Neofuturists. She is a teaching artist with The International Theatre and Literacy Project and has worked the past two summers in Rwanda devising plays with Rwandan Youth. She is an alumna of Wellesley College.

Start: Nov 16, 2015
End: Nov 16, 2015
Venue: Segal Theatre
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November 23, 2015

What the Eye Hears: A History of Tap Dancing

Dancing for Eels (1848)_courtesy of the Library of Congress

Photo: © Dancing for Eels (1848). Courtesy of the Library of Congress.


THE 2015 DANIEL GEROULD MEMORIAL LECTURE
Monday, November 23

Segal Theatre
6:30pm Performance + Discussion

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

Join us in celebrating New York Times dance critic Brian Seibert’s What the Eye Hears: A History of Tap Dancing, a new book on the history of tap dance, which illuminates tap’s complex origins and theatricalization. Seibert charts tap dancing’s growth in the vaudeville circuits and nightclubs of the early twentieth century, chronicles its spread to ubiquity on Broadway and in Hollywood, analyzes its post-World War II decline, and celebrates its reinvention by new generations of American and international performers. What the Eye Hears is a central account of American popular culture, as well as the pain and pride surrounding the complicated legacy of African Americans in show business.

Brian Seibert will speak about the challenges of writing tap history, screen clips from his film collection and introduce a performance by Ayodele Casel, one of New York’s top tap dancers. In 2010, Seibert presented a two-day event, The World of Tap Dance, at the Segal Center.

 

IMG_8052 Seibert_Brian, © 2015 Nancy Crampton (1)Brian Seibert writes for The New York Times and The New Yorker. His reviews, features, and essays have appeared in The Village Voice, The Los Angeles Times, Slate, Dance Magazine, and The Threepenny Review, among other publications. His history of tap dancing, What the Eye Hears, will be published by Farrar, Straus, and Giroux in November, 2015.

 

ayodele casel headshot

Ayodele Casel is a native Nuyorican New Yorker and has worked professionally as an actor and tap dancer for nearly two decades. She began her professional training at New York University’s Tisch School of the Arts and is also a graduate of The William Esper Studio in NYC, having studied directly with the masterful William Esper. Ms. Casel’s television and film credits include “Third Watch”, “Law and Order”, “The Jamie Foxx Show”, “Bojangles”, “Savion Glover’s Nu York”. Ayodele currently serves on the Artist Board for New York City Center’s Encores! under the artistic direction of Tony Award winner Jeanine Tesori. www.ayodelecasel.com

 

 

Start: Nov 23, 2015
End: Nov 23, 2015
Venue: Segal Theatre
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November 30, 2015

Richard Schechner Day

RS celebrating his 77th birthday

Photo courtesy of the artist


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

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

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

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

 

 

SCHEDULE

9:00am
RAMLILA OF RAMNAGAR
Documenting the 31-day ritual/theatre performance of the life of Rama
Richard Schechner in discussion with Rishika Mehrishi

10:00am
THE DIRECTOR
A presentation of some Schechner productions. Richard Schechner in discussion with Marvin Carlson

Selections from  Schechner’s productions: Dionysus in 69 (1968), Makbeth (1969), Commune (1970), Tooth of Crime (1972), Mother Courage (1975), The Marilyn Project (1975), Cops (1978), Cherry Orchard (1983), Tomorrow He’ll Be Out of the Mountains (1989), Ma Rainey’s Black Bottom (1992), Oresteia (1995), Three Sisters (1997), YokastaS Redux (2005), Hamlet (2007), Swimming to Spalding (2009), Imagining O (2014)

12:00pm
LUNCH

1:00pm
THE PERFORMER TRAINER (RASABOXES)
Richard Schechner in discussion with Paula Murray Cole
Selection from Crossing the Line (2009)

2:00pm
THE PERFORMANCE ANTHROPOLOGIST
Richard Schechner in discussion with Michael Taussig

3:00pm
THE EDITOR (TDR)
Richard Schechner in discussion with Mariellen Sandford

3:30pm
THE TEACHER
Richard Schechner in discussion with William Worthen

4:00pm
THE SCHOLAR: PERFORMANCE STUDIES
Richard Schechner in discussion with Joseph Roach

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

 

Richard Schechner, one of the founders of Performance Studies, is a performance theorist, theatre director, author, and editor. He is University Professor, and Professor of Performance Studies at the Tisch School of the Arts, New York University. Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including play, ritual, theatre, dance, music, popular entertainments, sports, politics, performance in everyday life, etc. in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice. He founded The Performance Group, East End Players, and East Coast Artists; and co-founded the New Orleans Group. He was one of the producing directors of the Free Southern Theatre. He is editor of TDR: The Journal of Performance Studies and editor of the Enactments Series with Seagull Books, India, and of the Worlds of Performance Series with Routledge, UK. His theatre productions include Purlie Victorious, Dionysus in 69Makbeth, CommuneThe Tooth of Crime, Mother Courage and Her ChildrenThe Marilyn Project, Seneca’s OedipusCops, The Balcony, The Prometheus Project, Ma Rainey’s Black Bottom, Faust/gastronome, Three SistersHamletThe Oresteia, YokastaS ReduxWaiting for Godot, Swimming  to Spalding, and Imagining O. His books include Public Domain, Environmental TheatrePerformance TheoryThe Future of RitualBetween Theater and Anthropology, Over, Under, and Around, Performance Studies: An Introduction, and Performed Imaginaries. His books have been translated into 17 languages and his numerous essays into many languages. The Richard Schechner Center at the Shanghai Theatre Academy publishes TDR/China and sponsors publications and programs in China. His theatre work has been seen in Asia, Africa, Europe, and North America. He has directed performance workshops and lectured on every continent except Antarctica. Schechner has been awarded numerous fellowships and grants including Guggenheim,
NEH, NEA, NYSCA, ACLS, Leverhulme Trust, Erasmus Mundus, Dartmouth, Cornell, Yale, Princeton, and the Central School of Speech and Drama, London. Among his honors are Lifetime Achievement Awards from PSi and ATHE, the Thalia Prize of IATC, and the Odznake Honorowa from Poand. Schechner’s papers, and the papers of TDR, are archived and available for research at the Firestone Library, Princeton University.

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

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

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

 

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

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

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

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

Performance Robot Dramaturgy – Tokyo/New York

courtesy of SKIP City Visual Museum

Photo courtesy of SKIP City Visual Museum

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

6:30pm Discussion

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

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

5:00pm Performance

A Quiet Day

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

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

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

Japan Foundation B ACA Japan

 

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

 

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

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

Katherine Mezur photo by Holger Hartung

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

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

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

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

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

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

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

Italian Playwrights Project

IPP_squared

Photos courtesy of the artists

Monday, December 7
Segal Theatre

6:30pm Reading

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

The Segal Center, in collaboration with Italian Artistic Director Valeria Orani from 369gradi (Italy) and Umanism (NY) has co-curated a new Italian translation, performance, and publishing initiative. The plays were selected, in collaboration with an advisory committee, from a pool of recent winners of some of the most prestigious playwriting awards in Italy, including The Ubu Award, The Riccione Award, and The Hystrio Award.

Featuring excerpted readings from:

We’ll be off, to spare you further worry
(Ce ne andiamo per non darvi altre preoccupazioni)
by Daria Deflorian & Antonio Tagliarini
translated by Janice Capuana
directed by Moshe Yassur

The Healer (Il Guaritore)
written by Michele Santeramo
translated by Ana Candida Carneiro & Raquel Almazan
directed by Jordan Fein

The Neighbors (I vicini)
written byFausto Paravidino
translated by Jane House
directed by Paul Takacs

The Origin of the World, Interior Conversation Piece
(L’origine del mondo, ritratto di un interno)
written by Lucia Calamaro
translated by Jane House
directed by Sarah Hughes

The readings will be followed by a panel discussion with the Italian playwrights, Daria Deflorian & Antonio Tagliarini, Fausto Paravidino, and Lucia Calamaro.

This event is supported by the Italian Cultural Institute in New York and The Segal Company/The Segal Group.Media Partner: RAI Radio3.

All Logos

 

Monday, December 7
ICI 686 Park Ave at 68th St
12:00pm

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

Please RSVP: https://ipp-discussion-panel.eventbrite.com

 

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

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

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

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

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

Director Jordan Fein

Jordan Fein (Director) is a Brooklyn based opera and theatre director. His work has been produced and developed at Opera Philadelphia, Curtis Opera Theatre, Williamstown Theatre Festival (2014 Boris Sagal Fellow), Ars Nova, Dixon Place, Here Arts Center, Brooklyn Arts Exchange, Clubbed Thumb Theater Company, Joe’s Pub at The Public Theater & Incubator Arts Project. Jordan is currently working with performance artist and composer Erin Markey on her new musical A RIDE ON THE IRISH CREAM. It will premiere this January as a co-production with the American Realness Festival and Abrons Arts Center. This spring he will return to Curtis Opera Theatre to direct a new production of LE NOZZE DI FIGARO at the Kimmel Center for the Performing Arts. Jordan has assisted many distinguished directors including Daniel Fish (a re-imagining of Rodgers & Hammerstein’s Oklahoma!) and was the Associate Director for the Broadway and West End production of The Elephant Man. jordanfein.net

IMG_2224Sarah Hughes is a director and producer. She is co-Artistic Producer of Target Margin Theater and was Elevator Repair Service’s Stage Manager & Assistant Director from 2007-14. She’s also worked with Half Straddle, Superhero Clubhouse, the Office for Creative Research, the Classical Theatre of Harlem, New York Theatre Workshop, The Bushwick Starr, and Vox Theater. Recent: Afterward (Sam Goodman, PRELUDE); Special Cheese (Sam Goodman; Columbia University / CATCH 64); A Star Has Burnt My Eye (Howard Fishman; The Brick); The Parable Conference (assisting Pablo Helguera; BAM Next Wave).Upcoming: #serials with Sam Goodman at The Flea December 10-12, 2015; Target Margin’s Drunken With What at Abrons Arts Center, February 2016.

Director_Paul Takacs

Paul Takacs (Director) is the founding Artistic Director of The Shop for which he will direct the New York premiere of Philip Ridley’s DARK VANILLA JUNGLE at HERE Arts Center in January. He directed the U.S. premiere of Philip Ridley’s TENDER NAPALM for The Shop at 59E59 Theaters as well as the U.S. premiere of Jon Fosse’s I AM THE WIND translated by Simon Stephens, also for The Shop at 59E59 Theaters. Other work includes the premiere of a new translation of Peretz Hirshbein’s Yiddish play CARCASS and David Pinski’s PROFESSOR BRENNER for New Worlds Theatre Project at HERE Arts Center in New York. His work has been seen at NYU; The Samuel French New Play Festival; The Red Room, NYC; The Cell Theatre, NYC; The New School for Drama, NYC; Shakespeare Theatre Company in Washington, DC; The Theatre Alliance, DC; Spooky Action Theatre, DC; Washington Shakespeare Company, DC; and Theatre of the First Amendment, VA. He has worked on new plays with John Strand, Heather Lynn MacDonald, and Judith Goudsmit to name but a few. He holds a BA in Drama from St. Mary’s College of Maryland and an MFA in Directing from the New School for Drama. He has taught at St. Mary’s College of Maryland and has served as a teaching artist for Shakespeare Theatre Company as well as the Folger Shakespeare Library and is currently on faculty at the Stella Adler Studio in New York.

DSC00756MOSHE YASSUR (Director), born in Iasi, Romania was a child actor with the post-WWII revived Pomul Verde, the original Yiddish theatre founded by Avram Goldfadn. In 1950 Moshe immigrated to Israel where he worked as actor and director in the Hebrew theatre scene. In Paris he assisted Jean-Marie Serreau in productions of works by Beckett and Ionesco. After coming to New York, he directed at Woodie King Jr.’s New Federal Theatre, the Soho Rep, and The Open Space Theatre Experiment. He has directed Yiddish productions at the Jewish State Theatre in Bucharest as well as premiered Joe Orton and Ionesco in Romanian theatres. His Gimpl Tam with the National Jewish Theatre-Folksbiene was a critical and popular success. In 2013 he directed the first ever Yiddish Waiting for Godot for New Yiddish Rep/Castillo co-production, a great hit at the 2014 Happy Days Beckett Festival in Enniskillen, Northern Ireland. Most recently, he directed Arthur Miller’s Death of a Salesman in Joseph Buloff’s Yiddish adaptation for New Yiddish Rep in association with Castillo Theatre. He is presently rehearsing Land of Fire by Mario Diament.

Start: Dec 7, 2015
End: Dec 7, 2015
Venue: Segal Theatre
Category:
,

December 14, 2015

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

Gianina Carbunariu’s Solitaritate. Photo by Angelique Surel

Monday, December 14
Segal Theatre

6:30pm Reading

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

An evening of excerpted readings from internationally renowned playwright/director and enfant terrible Gianina Carbunariu’s (Bucharest) play Mihaela, the Tiger of Our Town. In this fictional play inspired by a real event, a tiger escapes from a zoo and is shot after 3 hours of freedom in a neighboring forest. With an introduction by Cristina Modreanu, a curator, theater critic, and expert in performing arts (based in Bucharest and New York), we reflect on how our fears are used against the most vulnerable.

Directed by Tamilla Woodard. Performed by Kevin Crisaldi, Em Grosland, and Jens Rasmussen.

Gianina Carbunariu’s work has been presented around the world at international festivals such as, the Avignon Festival 2014, LIFT Festival (London), Biennale of New Plays (Wiesbaden), TransAmerique Festival (Montreal), New Drama Festival (Moscow), Dialog (Wroclav), Kontakt Festival (Torun), Konfrontacje Festival (Lublin), and New Drama (Budapest). Cristina Modreanu is currently the editor of the performing arts magazine Scena.ro, which she co-founded in 2008, a curator for theater and performance events, and an associate professor at the Center for Excellence in Image Studies at Bucharest University.

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

Logo RCINY galben-orange

 

 

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

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

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

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

Start: Dec 14, 2015
End: Dec 14, 2015
Venue: Segal Theatre
Category:
,

January 11, 2016

The Lincoln Center Theater Review

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

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


Monday, January 11
Segal Theatre

6:30pm Discussion

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

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

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

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

 

 

John Guare by Paul Kolnik

Photo by Paul Kolnik

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

 

Anne Cattaneo by Sara Krulwich

Photo by Sara Krulwich

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

 

Photo by Rex Bonomelli

Photo by Rex Bonomelli

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

 

Photo Courtesy of the Artist

Photo Courtesy of the Artist

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

 

Photo Courtesy of the Artist

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

 

 

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Start: Jan 11, 2016
End: Jan 11, 2016
Venue: Segal Theatre
Category:
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