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September 20, 2016

James Harding|Lecture: The Future of Performance in the Era of Global Surveillance

Photo by Peter Eckersall

Tuesday, September 20
Segal Theatre
12:00pm Lecture

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

James Harding’s lecture considers the future of theatre and performance in light of the expansive collecting and marketing of data by private corporations that cater to government agencies. Whatever its earlier forms, surveillance as a contemporary socio-political phenomenon is now less concerned today with real-time observation than with the collection of processable data that can be packaged as a commodity and marketed globally as a tool for manipulation, security and political control. Followed by a dialogue with Peter Eckersall.

James Harding teaches Theatre and Performance Studies at the University of Maryland. Recent publications include: The Ghosts of the Avant-Garde(s): Exorcising Experimental Theatre and Performance (Michigan, 2013).

Hosted by the Ph.D. Program in Theatre at The Graduate Center CUNY and The Segal Center.

To watch the event click here

Photo courtesy of the artist

James M. Harding is the author of The Ghosts of the Avant-Garde(s): Exorcising Experimental Theatre and Performance (Michigan, 2013), Cutting Performances: Collage Events, Feminist Artists and the American Avant-Garde (Michigan, 2010), and Adorno and “A Writing of the Ruins”: Essays on Modern Aesthetics and Anglo-American Literature and Culture (SUNY, 1997). He is an internationally known scholar whose work focuses on the history of experimental theatre, on post 9/11 theatre and performance, on the intersection of surveillance and performance, and on performance studies more generally. His articles have appeared in TDRPerformance InternationalTheatre JournalTheatre SurveyModern Drama, and PMLA. He is currently finishing a new monograph tentatively entitled Performance, Transparency and the Cultures of Surveillance and a co-edited anthology entitled Center-Staging the Sixties: Mainstream and Popular Performance in a Turbulent Decade.

 

Peter Eckersall

Peter 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.

 

 

Start: Sep 20, 2016
End: Sep 20, 2016
Venue: Segal Theater
Category:
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September 27, 2016

A Day with Romeo Castellucci

Photo by Luca Del Pia

Photo by Luca Del Pia

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

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

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

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

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

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

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

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To watch the event click here


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

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

 

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

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

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

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

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

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

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

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

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

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

PRELUDE 2016

Prelude 14 Full Logo v2 white no period

Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

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

PRELUDE 2016

Prelude 14 Full Logo v2 white no period

Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

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

PRELUDE 2016

Prelude 14 Full Logo v2 white no period

Oct. 5, 6, 7. FREE!

Curators: Antje Oegel, Tom Sellar, & Frank Hentschker

Producer: Nina Segal

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

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

David Paquet photo by Marie Claude Hamel; Sarah Berthiaume photo by Jérémie Battaglia; Michel Marc Bouchard photo by Julie Perreault

David Paquet photo by Marie Claude Hamel; Sarah Berthiaume photo by Jérémie Battaglia; Michel Marc Bouchard photo by Julie Perreault.

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

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

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

Québécois playwrights David Paquet (2:14, directed by Knud Adams, translated by Chantal Bilodeau), Sarah Berthiaume (Yukonstyle, directed by Tina Satter, translated by Nadine Desrochers), and Michel Marc Bouchard (Tom at the Farm, directed by Ed Sylvanus Iskandar, translated by Linda Gaboriau) will visit the Segal Center.

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

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

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

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

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To watch the event click here

 

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Photo by Jérémie Battaglia

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

 

Photo by Julie Perreault

Photo by Julie Perreault

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

 

Photo by Marie Claude Hamel

Photo by Marie Claude Hamel

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

 

knud-adams-headshot-2Knud Adams‘s recent productions include Julia Jarcho’s Every Angel is Brutal(Clubbed Thumb), Eliza Bent’s On a Clear Day I Can See to Elba (The New Ohio), Celine Song’s Tom & Eliza (JACK), Max Posner’s Snore (Juilliard), Carl Holder’s An Intimate Evening with Typhoid Mary (The New Ohio), and Sam Alper’sLoveplay/Playmoney (La MaMa). After graduating from Kenyon College, he continued his training by assisting some of the nation’s foremost directors: André Gregory, Elizabeth LeCompte, Richard Foreman, Sam Gold, and Sarah Benson. He was a Drama League Directing Fellow, a member of the Soho Rep Writer/Director Lab, and a Playwrights Horizons Directing Resident.

 

tina-satter_photo-credit-michael-de-angelisTina Satter is a writer, director, and Artistic Director of the Obie-winning theater company Half Straddle founded in 2008. She is a recipient of a 2016 Foundation for Contemporary Arts Award and a 2014 Doris Duke Impact Award. She has written and directed 9 full-length shows with Half Straddle that have premiered in New York City, with a number going on to be shown at theaters and festivals in Europe, Japan, and other U.S. cities. Tina attended Mac Wellman’s graduate playwriting program at Brooklyn College. Her first collection of plays, Seagull (Thinking of you), was published by 53rd State Press in 2014.

 

ed-sylvanus-iskandarEd Sylvanus Iskandar recently directed an immersive The Taming of the Shrew(Shakespeare Theatre Company, D.C.), and world premieres of Charles Francis Chan, Jr.’s Exotic Oriental Murder Mystery by Lloyd Suh (NAATCO, NYT Critics’ Pick) and Sojourners by Mfoniso Udofia (Playwrights’ Realm).  Ed received a Drama Desk Special Award for the “visionary directorial excellence” of The Mysteries (The Flea, NYT Critics’ Pick) and The Golden Dragon (PlayCo, TONY Critics’ Pick), with additional nominations for Amy Freed’s Restoration Comedy and Sean Graney’s These Seven Sicknesses(The Flea, NYT Critics’ Pick).  Affiliations:  Director, Lincoln Center Global Exchange; Drama League Fellow; NYTW Usual Suspect; BA (Stanford); MFA (Carnegie Mellon).  www.ediskandar.com

 

yves-jubinvilleYves Jubinville is Professor of Theater Studies and current Director of the École Supérieur de Théâtre of Université du Québec à Montréal. He is a member of The Centre de recherche interuniversitaire sur la littérature et la culture québécoise CRILCQ. His work focuses, among other topics, on the historiography of Theatre in Québec and contemporary theatre practices. He was the editor of the journal L’Annuaire théâtral from 2008 to 2014. He also collaborates with the research group “Régimes socio-esthétiques du théâtre au Québec”.

 

brigitte-poupartActor, writer, director and producer, Brigitte Poupart’s latest directorial foray is a show for Cirque du Soleil: Luzia; which premiered in May 2016 in Montreal, and is currently on tour internationally. Since graduating from the Conservatoire d’art dramatique de Montréal in 1990, has appeared in more than thirty theatrical productions including both mainstream and experimental works. She has been involved in international tours that have taken her to Australia, the United States, and Europe. She co-founded the theatre company Transthéâtre, in which she wrote, directed and produced her own creations (www.transtheatre.com). She is now in preparation for a 360° fiction film, a new creation for theater and just finished production as the lead role in the new Robin Aubert film: Les Affamés (Ravenous).

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

Marie Chauvet/Haiti: Chauvet’s Theatres of Revolt

Marie Chauvet, Circa 1960. Photo courtesy of Anthony Phelps

Marie Chauvet, Circa 1960. Photo courtesy of Anthony Phelps

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

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

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

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

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

The event is co-presented and made possible by the Henri Peyre French Institute, Program Director, Francesca Sautman with additional support from IRADAC (Institute for Research on the African Diaspora in the Americas and the Caribbean), GC CUNY.

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To watch the event click here

 

Symposium and Reading Schedule:

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

2:15pm
Panel 1: STAGING REVOLUTION: CHAUVET’S DANCE ON THE VOLCANO
Reading of excerpt in English from La Danse sur le volcan (Dance on the Volcano) by Gina Athena Ulysse. Panel Discussion with Jeremy Glick (Hunter College, CUNY) and Stéphanie Bérard (Institut d’Etudes Théâtrales), moderated by Kaiama L. Glover.

4:00pm
Panel 2: CONFLICT(ED) BODIES: CHAUVET’S REVOLTING AESTHETICS
Reading of excerpts in English from Chauvet’s Colère by Gina Athena Ulysse.
Panel Discussion with Christian Flaugh (University of Buffalo, SUNY) and Régine Michelle Jean-Charles(Boston College), moderated by Alessandra Benedicty-Kokken.

6:30pm
OPENING REMARKS
Thomas Spear (Graduate Center/Lehman College, CUNY)

Performance of excerpts in English from La Légende des fleurs (The Legend of the Flowers, translated by Alessandra Benedicty-Kokken); Jose Pliya’s theatrical adaptation of Amour (Love, translated by Lena Taub Robles); and Les Rapaces (Birds of Prey, translated by Carolyn Shread), directed by Alice Reagan.  Read by Kate Abbruzzese, Grant Chapman, Cloteal L. Horne, Alvin Keith, and Zainab Musa.

Followed by panel discussion with Gina Athena Ulysse, Alice ReaganJudith Miller, and Frank Hentschker.

 

Photo by Roberta Tabanelli

Photo by Roberta Tabanelli

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

Photo courtesy of the artist

Photo courtesy of the artist

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

Photo by Katia Arfara

Photo by Katia Arfara

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

francesca-canade-sautman

Photo courtesy of the artist

Francesca CANADÉ SAUTMAN, Director of the Henri Peyre French Institute since 2001, is Professor of French, Women’s, Medieval, and Renaissance Studies at Hunter College and the Graduate Center of CUNY. She writes on gender and women’s history, historical ethnology and modern ethnic studies, and has authored La Religion du Quotidien: Rites et croyances populaires de la fin du Moyen Age, (Firenze: 1995), co-edited Telling Tales: Medieval Narratives and the Folk Tradition with Diana Conchado and Giuseppe di Scipio (New York: St. Martin’s Press, 1998) and Same-Sex  Love  and  Desire  Among  Women  in  the  Middle  Ages  with Pamela Sheingorn (New York: 2001). She was also an associate editor for the Encyclopedia  of  Sex  and  Gender.  General  Editor,  Fedwa  Malti-Douglas ( NY, 2007).  Since 2001, the Henri Peyre French Institute has organized a number of important events on Haiti, most recently, the two-day March 2016 conference Impunity, Responsibility and CitizenshipHAITI (curated by Jasmine Narcisse). Since Spring 2014, it also runs a series of events and blogs on Food, Foodstuffs, Power and Exchange in the Francophone world.

Photo courtesy of the artist

Photo courtesy of the artist

Régine Isabelle Joseph specializes in francophone literature, postcolonial studies, feminism, and the political histories of the French Caribbean. She is presently working on a book manuscript that focuses on the literary responses to the rising suppression of radical politics in mid-20th-century Haiti. Her second book project – derived from her archival research on the correspondence between Marie Vieux Chauvet and Simone de Beauvoir (Yale French Studies, 128) – examines the politics of the literary market and the publication of French and Francophone women writers. Dr. Joseph holds an AB in Romance Languages and Literatures from Harvard University, and a PhD in French Literature from New York University.

Photo by Heather Bellini

Photo by Heather Bellini

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

Photo courtesy of the artist

Photo courtesy of the artist

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

Photo courtesy of the artist

Photo courtesy of the artist

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

Photo by Lise Landeau

Photo by Lise Landeau

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

thomas-c-spear

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Thomas C. Spear is Professor of French at Lehman College and The Graduate Center, CUNY. Author of numerous articles on French and Francophone novelists, he specializes on forms of autofiction. Occasional translator and radio commentator, he has recently completed a book-length “sidafiction.” His publications include the collections, Une journée haïtienne (Présence Africaine / Mémoire d’encrier, 2007) and Paroles et silences chez Marie-Célie Agnant (with Colette Boucher, Karthala, 2013). He is editor, since 1998, of Île en île, an archive featuring authors from French-speaking islands and their diasporas.

Photo by Shane Leclair

Photo by Shane Leclair

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

Photo by Maria Dillingham

Photo by Maria Dillingham

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

 

 

Photo by Leah Masci

Photo by Leah Masci

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

Photo by Lucy Guiliano

Photo by Lucy Guiliano

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

Start: Oct 24, 2016
End: Oct 24, 2016
Venue: Segal Theatre
Category:
,

October 31, 2016

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

Photo by Shalmon Bernstein

Photo by Shalmon Bernstein

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

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

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

The event will be followed by a book signing with author, Hillary Miller.

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

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EVENT SCHEDULE

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

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

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

1:00pm Screenings
It Happens to Us, Amalie Rothschild, 1972 | 30 min.
One of the first documentaries to give voice to women’s experiences with abortion both before and after legalization. Presented in collaboration with New Day Films.

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

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

Q & A with the Filmmakers
Participants: Amalie Rothschild, Claudia Weill, and Mirra Bank

3:00pm Screenings
Dyketaktics, Barbara Hammer, 1974 | 4 min.
One of the first documentaries about lesbian sexuality by a lesbian filmmaker, this explicit film quite literally takes lovemaking out into the open. Presented in collaboration with Barbara Hammer.

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

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

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

5:00pm Q & A with the Filmmakers
Participants: Abigail Child, Barbara Hammer, Amalie Rothschild, and others.

6:30pm Panel
Theatre & 1970s NYC, panel discussion with Tisa ChangJulia Foulkes, Jessica Hagedorn, Muriel Miguel, Cindy Rosenthal, and Richard Wesley.

7:30pm Book Signing with Hillary Miller book-cover-image
Drop Dead
Performance in Crisis, 1970s New York
Hillary Miller

 

 

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Photo courtesy of the artist

Tisa Chang is a dancer, actor, director, producer, celebrating 50 years in American Performing Arts. Inspired by the global independence movement and civil rights activism in the 1970’s, she founded Pan Asian Repertory Theatre in 1977 to champion professional opportunities for Asian American artists to reach the heights of one’s dreams and aspirations. Directing highlights: Sayonara the musical (2015) and A Dream of Red Pavilions (2016). Pan Asian Rep continues to expand the vocabulary of American Theatre with untold stories from the Pan Asian spectrum and from the Middle East. Acting highlights on stage: The Basic Training Of Pavlo Hummel, Lovely Ladies Kind Gentlemen, and Pacific Overtures;  Film And TV: Ambush Bay, Escape From Iran, Year Of The Dragon. Tisa is a former Executive Board member of SDC, member of Coalition of Theaters of Color, member of National Theatre Conference, and a founding board member of CAATA the national coalition of Asian-American Theatres and Artists that recently produced the 5th CONFEST in October 2016 at Oregon Shakespeare Festival (OSF) in Ashland, Oregon.

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Photo courtesy of the artist

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

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Photo courtesy of the artist

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

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Photo courtesy of the artist

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

Photo by DJ Dolack

Photo by DJ Dolack

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

Photo by Carol Rosegg

Photo by Carol Rosegg

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

elena-rossi-snook

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

Photo by Michelle Long

Photo by Michelle Long

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

 

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Photo courtesy of the artist

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

Start: Oct 31, 2016
End: Oct 31, 2016
Venue: Segal Theatre
Category:
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November 7, 2016

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

Judith Malina and Julian Beck, 1961. Photo Courtesy of The Living Theatre Archive

Judith Malina and Julian Beck, 1961. Photo Courtesy of The Living Theatre Archive

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

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

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

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

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

the-living-theatre-logo

SCREENINGS:

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

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

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

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

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

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

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

The Living Theatre. Founded in 1947 as an imaginative alternative to the commercial theater by Judith Malina, the German-born student of Erwin Piscator, and Julian Beck, an abstract expressionist painter of the New York School, The Living Theatre has staged nearly a hundred productions performed in eight languages in 28 countries on five continents – a unique body of work that has influenced theater the world over. The Living is heading to Europe for a workshop tour this winter, and will be developing the play Venus & Mars, which was left unfinished by Malina as its next new work in the years to come. www.LivingTheatre.org

Brad Burgess is the Artistic Director of The Living Theatre, after having worked with friend and mentor Judith Malina for 10 years until her passing in April 2015. He is an OBIE award-winning member of The Living Theatre ensemble. Brad is a founding board member of The Indie Theater Fund, an organization of 230-plus theatre companies that collectively tithes and fundraises to support independent theatre. He is a founding board member of Sophie Gerson’s Healthy Youth with former councilman Alan Gerson and many other NYC community leaders, an organization that provides arts, sports, and science programs to underprivileged kids in the city. He is a board member of The Assembly and FRIGID NY. He is an associate at The Martin E. Segal Theatre Center at The Graduate Center, CUNY. He is also a workshop leader for the All Stars Project Cops & Kids program with the NYPD.

Monica Hunken creates solo shows which include, Reading the Water, Blondie of Arabia, The Wild Finish, and Hunker Down. In NY, she has been produced at Culture Project, The Living Theater, Polish Cultural Institute and HERE Arts Center. She has been produced in Australia’s Horse’s Mouth Festival, the Netherland’s DeParade and Fringe Festivals, Norway’s PIT festival, the Glastonbury Festival in England, among many other theaters across the globe. She is an avid cyclist, having ridden across more than 20 countries while also performing, teaching and leading creative direct action workshops.

Philip Santos Schaffer is a multi-disciplinary theatre artist, currently in his second year in Columbia University’s MFA Dramaturgy Program. BFA Production, focus in Directing, Hofstra University. Associate Archivist and company member, The Living Theatre. Philip is one fourth of the artistic team behind WalkUpArts. Plays by Philip include A PLAY ABOUT DREW CAREY (WalkUpArts, upcoming), I Live With William Walker (Columbia University, 2016), God Likes You (Columbia University, 2016), Alone With Living Creatures (WalkUpArts, 2014), and The Life of the Theatre, a full length play adapted from Julian Beck’s diary by the same name, and produced many times over the course of the past 3 years. For information on upcoming projects, visit walkuparts.org.

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

Start: Nov 7, 2016
End: Nov 7, 2016
Venue: Segal Theatre
Category:
, ,

November 14, 2016

A Day with Robert Lepage/Canada

Photo by Jocelyn Michel leconsulat

Photo by Jocelyn Michel leconsulat

 

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

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

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

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

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

Screenings curated by Soriya Chum.

With additional support from Emmanuelle Sirois, International Project Advisor, Centre des auteurs dramatiques (CEAD) / Québec.

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

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

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

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

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

 

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

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

Photo by Jason Frank Rothenberg

Photo by Jason Frank Rothenberg

Click here watch the livestreamed event! (starts at 6:30pm)

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

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

 

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

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

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Photo by Colin Lenton

Photo by Colin Lenton

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

dito-van-reigersberg

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

Photo by Ian Douglas

Photo by Ian Douglas

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

mimi-lien

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

rebecca-rugg

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

 

 Screening Schedule:

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

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

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

 

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

Contemporary Opera NYC: Talks with Artists and Producers

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Monday, November 28
Segal Theatre
6:30pm Discussion

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

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

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

Photo courtesy of the Artist

Photo courtesy of the Artist

Jecca Barry has been the General Manager of Beth Morrison Projects since 2013, a role that feeds her passion for bringing new music works to the stage. Jecca received her BA(Mus) in Flute Performance from the Royal Northern College of Music in Manchester, England, and her Master of Music Degree in Flute Performance from New York University. During her studies, Jecca focused almost exclusively on the performance of contemporary and avant-garde works. In 2010, Jecca was a founding member of the Empire State Sinfonia, a professional orchestra that performed around New York City, including a performance at Alice Tully Hall in 2011. Jecca also works as an independent producer for theatre-artist Geoff Sobelle’s, who’s work The Object Lesson has toured the US and Internationally, and will be returning to NYC in February 2017 with a run at New York Theatre Workshop.

Photo by Liz Linder

Photo by Liz Linder

Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. The New York Times describes her music as, “ruminative, pointillistic and harmonically slightly tart.” Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992 and has premiered and toured works by John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival. Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and is an artist-in-residence at Grand Central Art Center in Santa Ana, California. Bielawa’s music is frequently performed throughout the US and Europe. Highlights include premieres at the 2016 NY PHIL BIENNIAL, Orlando Philharmonic, and performances as both composer and vocalist at the Kennedy Center. She is currently working on Vireo, an episodic opera which will be released by KCET for free, on-demand streaming in 2017. Her latest album is The Lay of the Love (Innova 2015). For more information, please visit www.lisabielawa.net.

Photo by Alex Norelli

Photo by Alex Norelli

M. Lamar works across opera, metal, performance, video, and sculpture to craft sprawling narratives of racial sexual transformation. Lamar holds a BFA from The San Francisco Art Institute and attended the Yale School of Art, sculpture program, before dropping out to pursue music. Lamar’s work has been presented internationally, most recently at The Kitchen New York, Merkin Concert Hall New York, PS1 Greater New York, Participant Inc. New York among others. Mr. Lamar continues to study classical and bel canto technique with Ira Siff, and is a recipient of grants from the Rema Hort Mann Foundation (2015), Harpo Foundation (2014-2015), and Franklin Furnace Fund (2013–14). www.mlamar.com

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Photo courtesy of the artist

Kristin Marting is a director of hybrid work based in NYC. Over the last 25 years, she has constructed 27 stage works, including 12 original hybrid works, 8 reimaginings of novels and short stories and 7 classic plays. She works in a collaborative, process-driven way to fuse different disciplines into a cohesive whole. Kristin is co-founder and Artistic Director of HERE where she has directed 17 works and cultivates artists and programs (including 17 OBIE-award winners) in two performance spaces for an annual audience of 30,000. She has also premiered works at 3LD, Ohio Theatre, and Soho Rep. Her work has toured to 7 Stages, Berkshire Festival, Brown, MCA, New World, Painted Bride, Perishable, UMass, Moscow Art Theatre and Oslo. She has directed readings and workshops for Clubbed Thumb, New Georges, Playwrights Horizons, Public Theatre, Target Margin, and others. Selected residencies include Cal Arts, LMCC, Mabou Mines, MASS MOCA, NACL, Orchard Project, Playwrights Center, Smack Mellon, Voice & Vision and Williams.

Photo by Reuben Radding

Photo by Reuben Radding

Aaron Siegel is a Brooklyn-based composer working mainly in the worlds of experimental opera and chamber music. He is one of the co-founders of Experiments in Opera, where he has helped produced over 40 new works for in the last five years.  He is currently working on a short opera called ‘The Wallet’ for EiO’s Flash Opera program to be premiered in May 2017, a Chamber Music America commission for Mantra Percussion, and a pair of song cycles for Soprano and Baritone.  His most recent recording is BOOK OF NOTIONS, 9 duos for piano and vibraphone released in fall 2016. He is the Executive Director of Experiments in Opera and on the education staff at Carnegie Hall.

ashley-tata

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Ashley Tata is a freelance director working principally in the fields of new opera and multi-media performance. Recently: Molière’s Don Juan (Fisher Center, Bard College); George Lam’s Heartbreak Express (Rhymes with Opera); thingNY’s This Takes Place Close By (Knockdown Center); Mojiao Wang’s opera Encounter (National Centre for the Performing Arts, Beijing); Venture Opera’s Don Pasquale (National Opera Center, NYC); Lainie Fefferman’s oratorio Here I Am featuring Newspeak Ensemble and Va Vocals (Roulette); Morningside Opera Company’s A Weimar Flute, (Housing Works Bookstore); and a multi-media concert staging of David T. Little’s Soldier Songs with video by Bill Morrison (Atlas Theatre, DC and The Holland Festival, Amsterdam, Beth Morrison Projects). As an assistant she frequently works with Beth Morrison Projects and directors Robert Woodruff, Daniel Fish, JoAnne Akalaitis, Jay Scheib and Michael Counts. Recipient of the Lotos Foundation’s Emerging Artist Prize in the Arts and Sciences. MFA Columbia University. She is currently working with Kate Soper and Wet Ink Ensemble on a new music multi-media piece, Ipsa Dixit which will premiere at EMPAC in December of 2016. www.ashleytata.com

thingny

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thingNY is a quirky collective of New York composer-performers who fuse electronic and acoustic chamber music with new opera, improvisation, theater, text, song and installation. Founded in 2006 for an ad hoc festival in the historic Loew’s Jersey City Theater, thingNY performs experimental sound works created collaboratively by the core ensemble – Paul Pinto, Erin Rogers, Jeffrey Young, Gelsey Bell, Dave Ruder, and Andrew Livingston – and by adventurous composers such as Robert Ashley, Frederic Rzewski, John King, Pauline Oliveros, Miguel Frasconi, Vinko Globokar, John Cage, Julius Eastman, James Tenney, David Snow, and Andrea La Rose.

 

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

Italian Playwrights Project: Stefano Massini’s SOMETHING ABOUT THE LEHMANS

Photo by Attilio Marasco

Photo by Attilio Marasco

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

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

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

The play premiered at the Piccolo Teatro di Milano-Teatro d’Europa in 2015 and was the last work of legendary Italian theatre director Luca Ronconi. It has since been produced widely in Europe. Oscar Award-winning director Sam Mendes will be staging The Lehman Trilogy. Join us for a conversation with Stefano Massini about his work, the history of the Piccolo Teatro di Milano, and contemporary theatre in Europe. The event will also feature a reading of an excerpt from the book Something about the Lehmans (Mondadori, 2016), translated by Allison Eikerenkoetter, directed by Marco Calvani, and performed by Robert Funaro.

Italian Playwrights Project created by Valeria Orani (369gradi Italy/ Umanism NY, www.umanism.com) and Frank Hentschker (Martin E. Segal Theatre Center) in collaboration with Giorgio Van Straten (Director, Italian Cultural Institute in New York (www.iicnewyork.esteri.it).

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

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Photo courtesy of the artist

Marco Calvani Italian born, Marco is an award winning playwright/director/translator/actor. His plays have been translated and performed throughout Europe, Asia, US, Latin America. He is a member of the Literary Board at the National Theatre of Scotland, of the Dramatists Guild of America and of the Playwrights/Directors Unit at The Actors Studio. He is the winner of the 2011 SIAE Prize for Best Playwright, of the 2013 Outstanding Playwright at the Planet Connections Theatre Festivity Awards, NY and of the 2015 Calcante Prize. He’s also the recipient of the 2011 Writer Grant at the Cité Internationale des Arts of Paris and of the 2015 Writers Fellowship at the Edward Albee Foundation. In 2012 he created with Neil LaBute the project AdA – Author directing Author, whose third edition will open in January 2017 at La MaMa Theatre. www.marcocalvani.com

robert-ramone

New York born Robert Funaro is best known for his recurring character, Eugene Pontecorvo in the acclaimed HBO T.V. Series The sopranos. He was a recurring character Tony Del Greco in HBO’s VINYL directed by Martin Scorsese. He currently was cast and filmed the pilot for THE SINNER a series for universal with Jessica Biel and Bill Pullman as Ron Tannetti. His film credits include: Not Fade Away directed by David Chase,  American Gangster with Ridley Scott. He has worked numerously in the NYC OFF Broadway Theater scene at 59E59- American Premier of Fresh Kills from the Royal Court production directed by Isaac Bynes and How Alfo Learned To Love Woman. He currently is in THE MILKMAS SISTER perfroming at the 13th Street Repertory. Staged reading of Geeta and Sid go to Roam by Allison Eikerenkoetter at Medicine Show Theater.

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

FEAST: Yoruba Project

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

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

Heiner Müller’s Discovery of America

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

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

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

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

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

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

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

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

PAJ Publications is Heiner Müller’s American publisher.

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

 

EVENT SCHEDULE:

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

10:00am

WELCOME
by Frank HentschkerKlaudia Ruschkowski, and Wolfgang Storch

INTRODUCTION
by Klaudia Ruschkowski & Wolfgang Storch

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

10:30am

INTRODUCTION TO MAUSER
By Wolfgang Storch Klaudia Ruschkowski

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

12:30pm

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

REMARKS

 

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

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

 

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

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

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

 

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

INTRODUCTION by Andreas Huyssen (Columbia University)

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

REMARKS

 

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

READING of excerpts
From Fatzer + – Keuner by Frank Hentschker

REMARKS

Part 4 (4:30pm – 5:15pm)

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

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

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

 

EVENING PROGRAM (6:30pm – 9:30pm)

6:30pm

WELCOME
by Frank HentschkerKlaudia Ruschkowski, and Wolfgang Storch

INTRODUCTION
by Klaudia Ruschkowski & Wolfgang Storch

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

Andreas Huyssen on Mauser

Terry Galloway, Powerpoint PresentationMauser in Austin

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

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

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

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

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

READING of Lessing’s Sleep Dream Scream by The Assembly 

Frank Hentschker on Hamletmachine and short reading

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

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

Bonnie Marranca on Introducing Heiner Müller to the America

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

Jonathan Kalb on The Mission. Memory of a Revolution

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

9.15pm – 9:30pm

REMARKS

 

ABOUT PARTICIPANTS

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

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

klaudia-ruschkowski_photo-by-antonio-maria-storch

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

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

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

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

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

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

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

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