Loading Events

Upcoming Events › Fall 2018

October 22

Vegard Vinge (Norway) + Ida Müller (Germany)

Photo courtesy of the artists.

Monday, October 22
Segal Theatre
10:00am Screenings + 6:30pm Artist Talk

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

The Segal Center is honored to welcome the notorious Norwegian/German theatre duo Vegard Vinge and Ida Müller in their first visit to the U.S. Throughout the last decade, Vinge and Müller have managed to scandalize European audiences through gothic somberness and seemingly naïve aesthetics. They often indulge in transgressive improvisation, body fluids, violence, masks, and excessive make-up to create a new and ironically monstrous Total-Work-of-Art.

Their shocking, delightful, and thoughtful defiling of the Ibsen corpus provided fresh perspectives and commentary on these classic texts, while creating an outrageously original theatre language. Their maximalist and extremist aesthetics have earned them multiple awards and invitations to Europe’s most prestigious stages, including their former artistic home, The Volksbühne Berlin. Throughout the day, Vinge and Müller will personally introduce premiere screenings of excerpts from all their work, including a new, widely anticipated film project.

All day screenings will include excerpts from Art Performance Videos, 2004-2005; A Doll’s House, Grusomhetens Tehatre Oslo, 2006; Ghosts, Ibsen, Black Box Teatre, Oslo, 2007; The Wildduck, Ibsen, The Bergen International Festival, 2009; John Gabriel Borkman, Ibsen, Volksbühne Berlin, 2012; Nationaltheater Reinickendorf, Berliner Festspiele, 2017; Untitled (in process), 2013-2015. Evening event will feature an introduction, entitled Fiction/Fetish, by Andrew Friedman.

 

Screening Schedule:

10:00am
A Doll’s House/ Ibsen
Grusomhetens Teater, Oslo | 2006 | 90 mins

11:30am
Ghosts / Ibsen
Black Box Teatre, Oslo | 2007 | 90 mins

1:00pm
The Wild Duck / Ibsen
Festspillene i Bergen, Bergen | 2010 | 60 mins

2:00pm
John Gabriel Borkman / Ibsen
Volksbühne, Berlin | 2012 | 90 mins

3:30pm
Nationaltheater Reinickendorf + Masterbuilder Solness / Ibsen
Berliner Festspiele, Berline | 2012 | 150 mins

 

 

Andrew Friedman is an assistant professor of theatre history at Ball State University and received his PhD in Theatre from the CUNY Graduate Center.  His articles on contemporary performance appear in Theatre Journal, Theater, Modernism/modernity, European Stages, Ibsen News and Comment, and the forthcoming collection, Postdramatic Theatre and Form. He is currently completing a manuscript about Vegard Vinge and Ida Müller’s Ibsen-Saga.

Date: October 22
Venue: Segal Theatre
Category:
, , ,

October 24

Orhan Pamuk’s Snow: Staged Reading with Orhan Pamuk (Turkey)

Orhan Pamuk’s Snow. Photo © Jean Louis Fernandez

Wednesday, October 24
Elebash Recital Hall
6:30pm Reading + Discussion

No Reservations
SEATING EXTREMELY LIMITED
FREE + Open to public. First come, first served.

 

Nobel Prize laureate in Literature Orhan Pamuk called Snow “my first and last political novel.” Set in the small city of Kars in northeastern Turkey, it tells a story of violence and tension between political Islamists, soldiers, secularists, and Kurdish and Turkish nationalists. An international sensation, the novel has been adapted for the stage in France by Blandine Savetier and Waddah Saab. After the American Premiere staged reading, translated by Taylor Gaines, Pamuk joins in conversation with Frank Hentschker, Executive Director of the Martin E. Segal Theatre Center.

Orhan Pamuk, born 1952, is a Turkish novelist, screenwriter, and academic. One of Turkey’s most prominent novelists, his work has sold over thirteen million books in sixty-three languages, making him the country’s best-selling writer. Pamuk is the author of Silent House, The White Castle, The Black Book, The New Life, and The Museum of Innocence, among others. He is also the Robert Yik-Fong Tam Professor in the Humanities at Columbia University, where he teaches writing and comparative literature. He was elected to the American Philosophical Society in 2018.

Blandine Savetier has spent most of her life between France and Belgium. She has lived in Africa, the U.S., Russia, and central Asia. After studies in drawing and a master in Performing Arts, Blandine began to study under Claude Buchvald, Stanislas Nordey, Thierry Salmon (Belgium), Marc Liebens (Belgium), and take Anatoli Vassiliev’s master classes in Moscow and Paris. She is a frequent artistic collaborator with Stanislas Nordey and Thierry Roisin. She has been an associated artist with the Théâtre National de Strasbourg since 2014, where Stanislas Nordey is Artistic Director. Previously she was an associated artist for four years with the Comédie de Béthune, national theatre in the Nord-Pas-de-Calais region.

In 2002 she directed her first professional work, Stabat Mater Furiosa by Jean-Pierre Siméon in Brussels, which toured in France and Lebanon, and founded her company Longtemps je me suis couché de bonne heure. Some of her directing work includes: The Ruthless Killer Hasse Karlsson by Henning Mankell (Comédie de Béthune, Théâtre Gerard Philippe, Théâtre de la Place in Liège), Le President by Thomas Bernhard (Comédie de Béthune, Théâtre de la Colline), Critic’s Union prize-winning Le Marin by Fernando Pessoa (Théâtre National de Bretagne), The Little Room at the Top of the Stairs by Carole Fréchette (Théâtre National de Bretagne, Festival Mettre en Scène, Théâtre du Rond-Point in Paris), Happy Days by Samuel Beckett (Comédie de Béthune, Théâtre de la Commune Aubervilliers, Théâtre National de Toulouse), Life Within the Folds by Henri Michaux (Comédie de Béthune, Théâtre Nanterre-Amandiers), and Love and Money by Denis Kelly (Théâtre National de Strasbourg, Théâtre du Rond-Point). She regularly teaches at national theatre schools, including the Théâtre National de Strasbourg, Théâtre National de Bretagne, and the Théâtre de la Colline in Paris. Work with actors is central to her directorial approach, and is the object of her continued research.

Waddah Saab is a French-Lebanese writer and dramaturg, born and raised in Senegal. After completing his studies in Paris, he worked in the European civil service. Passionate about literature and theatre, he has worked on Blandine Savetier’s productions as a dramaturg since 2002, making writing and theatre his primary career in 2013. His first novel, Si je t’oublie Tambacounda, is in the process of publication. He now lives in Brussels.

Taylor Gaines is a translator and freelance copyeditor based in New York. After a BA in Drama and French from the University of Virginia, and an MA in Cultural Translation from the American University of Paris, Taylor was a literary intern at Studio Theatre in Washington, D.C., and a literary fellow at The Play Company. She recently participated in the Rencontres de Traduction workshop as part of the Dramaturgies en dialogue festival, hosted by the Centre des auteurs dramatiques in Montreal.

Presented by the Martin E. Segal Theatre Center, Cultural Services of the French Embassy, New York, and CUNY Graduate Center Public Programs, with additional support by FACE Contemporary Theater. Co-produced by Taylor Gaines in collaboration with the Segal Center.

Supported by FACE Contemporary Theater, a program developed by FACE Foundation and the Cultural Services of the French Embassy in the United States with the support from the Florence Gould Foundation, Institut français -Paris, the French Ministry of Culture and private donors. Additional support for women artists has been provided by Fondation CHANEL.

     

 

Start: Oct 24, 2018
End: Oct 24, 2018
Venue: Elebash Recital Hall
Category:
, ,

October 29

Black Acting Methods with Sharrell D. Luckett

Cover of Black Acting Methods Critical Approaches.

Monday, October 29
Segal Theatre
6:30pm Discussion + 2:00pm Interactive Seminar

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

Celebrating the recent publication of Black Acting Methods: Critical Approaches (Routledge 2017), Dr. Sharrell D. Luckett will host a conversation with fellow theatre teachers, researchers, and makers concerning the decolonization of acting methods and pedagogies. While recent conversations tend to focus on norms of representation, this event seeks to explore the myriad eurocentric assumptions that are at play in the formative process of acting, and to present alternatives that stem from African legacies, sensibilities, and experiences. In addition to the public conversation, a closed session for interested actors will take place during the afternoon. Registration to the session is required by RSVP to blackactingmethods@gmail.com. Space is limited.

 

Photo courtesy of the artist

Sharrell D. Luckett, Ph.D. is Assistant Professor of Drama and Performance Studies and Director of the Weinberger Center for Drama and Playwriting at the University of Cincinnati. She is lead editor of the award-winning Black Acting Methods: Critical Approaches (2017), and author of YoungGiftedandFat: An Autoethnography of Size, Sexuality, & Privilege (2018). In addition to working as a dramaturg, playwright, and actress, Luckett has directed Topdog/Underdog by Suzan-Lori Parks, for colored girls… by Ntozake Shange,Oedipus Rex by Sophocles, Ruined by Lynn Nottage, and Dreamgirls by Krieger & Eyan, among others. She is founding Director of the Black Acting Methods® Studio, a training program in performance theory and practice.

With additional support from the Helen Weinberger Center for Drama and Playwriting, University of Cincinnati.

Start: Oct 29, 2018
End: Oct 29, 2018
Venue: Segal Theatre
Category:
, , ,

November 8

The Magnificent Peony Dreams: Yin Mei – Installation Performance + Artist Talk

The creation of Peony Dreams: On the Other Side of Sleep, is supported by the National Dance Project of the New England Foundation for the Art. Photo by Rachel Cooper.

Thursday, November 8
Segal Theatre
6:30pm Installation Performance and Discussion + 2:00pm Screenings

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

Join us for a day exploring the works and vision of Yin Mei, Chinese-American choreographer, performer, director, and professor of Dance at Queens College, CUNY in conversation with visiting scholars and professors from China as part of the exchange partnership between Shanghai Theatre Academy (STA, China), the Theatre Department at the Graduate Center, CUNY, and the Martin E. Segal Theatre Center.

Employing Chinese energy direction and spatial principles as a means for creating dance within the rubric of contemporary dance theater, Yin Mei aims to make visible the inner world that lies beneath the surface of everyday life—a parallel world beyond material purposes and goals, filled with mystery. As part of a generation of artists growing up and performing during the Chinese Cultural Revolution, Yin Mei exposes in her works how personal memories, tattooed images of rage, harmony, solemnity and quiet silence exude an ethereal and illusory mood.

Afternoon screenings will feature excerpts of her works: Nixon in China, Seven Sages of Bamboo Grove, Antonioni in China, Empty Traditional/City of Peonies, Cursive, and /Asunder.

The evening will present an installation performance, with pianist Bill Buchman, that merges the artist’s personal memory, contemporary dance, and visual arts, followed by a panel with Yin Mei and others.

 

Photo courtesy of the artist.

Yin Mei was born in China and started her professional career in traditional Chinese dance during the Cultural Revolution. Joining a leading state dance company at the age of fourteen, she was trained in Chinese traditional dance and Peking opera dance. Before coming to the United States to study modern dance on a grant from the Asian Cultural Council, she was a professional dancer with the Henan Song and Dance Troupe and later a principal dancer with the Hong Kong Dance Company, where she danced leading roles in the traditional Chinese dance repertoire. She is now a professor and the Director of dance at Queens College, City University of New York, and the artistic director of Yin Mei Dance Company.

She has received a Guggenheim Fellowship, an Asian Cultural Council Fellowship, and a Choreography Fellowship from the New York Foundation for the Arts. She is a Fulbright Scholar and has been nominated twice for a Cal-Arts Alpert Award in Choreography. Her productions have been supported multiple times by grants from Rockefeller MAP, New England Foundation for the Arts, National Dance Project, Creative Capital, Meet the Composer, Live Music for Dance, Greenwall Foundation, National Endowment for the Arts, and more.

 

Start: Nov 8, 2018
End: Nov 8, 2018
Venue: Segal Theatre
Category:
, , ,

November 12

Japanese Playwrights Project (Day 1): Satoko Ichihara/Kristine Haruna Lee, Jun Tsutsui/Soraya Broukhim, Kuro Tanino/Mallory Catlett

Kuro Tanino’s Avidya – No Light’s Inn. Photo by Shinsuke Sugino

Monday, November 12
Segal Theatre
2:00pm, 5:00pm, 7:00pm Readings + Discussions

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

After the success of the first edition of the Japanese Playwrights Project (JPP) in 2007 once again the Segal Center brings some of the brightest, most innovative, and most engaging emerging playwrights from Japan to New York to develop their pieces through translation into English and public readings of the work. The Japan Playwrights Project plays an important role in introducing contemporary writing and dramaturgy from Japan to the US.

In 2018, the Japanese Playwrights Project is proud to present:

A Question of Faeries by Satoko Ichihara
Favonia’s Fruitless Fable by Satoko Ichihara
Isla, Isla, Isla! by Yudai Kamisato
Avidya – No Lights Inn by Kuro Tanino
Sokonaizu by Jun Tsutsui

The Japanese Playwrights Project 2018 was made possible by the generous support of the Japan Foundation, New York (Koji Nozaki, Sanae Tani, and Kenji Matsumoto). Additional support for English translations by the Japan Playwrights Association. The Japanese Playwrights Project 2018 was initiated and realized by Frank Hentschker and Aya Ogawa.

Board of Advisors – Japan: Peter Eckersall, Shintaro Fujii, Kako Kishimoto, Hiromi Maruoka, Aya Ogawa, Toshiki Okada, and Masahiko Yokobori.
Board of Advisors – New York: Peter Eckersall, Anne Erbe, Frank Hentschker, Andrew Kircher, Kate Loewald, Aya Ogawa, and Yoko Shioya.

Participants of the 2007 JPP included Masataka Matsuda, Akio Miyazawa, Toshiki Okada, and Mikuni Yanaihara. Josh Fox/International WOW Company; Dan Safer/Witness Relocation, Jay Scheib, and The Play Company each presented successful productions in New York theatres.

 

 

 

Monday, November 12 (Click here for Day 2 Schedule)

2:00pm Favonia’s Fruitless Fable (毛美子不毛話)
written by Satoko Ichihara
directed by Kristine Haruna Lee
translated by Aya Ogawa

“Me” is a female office worker who, obsessed with a strange rumor, comes wandering through a back alley night after night in search of real leather pumps. In the back alley she has a series of encounters with a variety of questionable characters: a distorted version of a male office worker who is a superior at her company, another “Me,” a middle-aged man who has a huge cock growing out of the middle of his chest, and a shifty salesman. A two-person play (1M, 1F) portraying life in the chaos of contemporary society. Nominated for the 61st Kunio Kishida Prize for Drama.

5:00pm Sokonaizu (ソコナイ図)
written by Jun Tsutsui
directed by Soraya Broukhim
translated by Tomoyuki Arai

It isn’t clear whether it’s the end of the year or the beginning of the year. Two women are lying still in a room. No one knows the size of it. They are sisters. The younger speaks, but with a voice in her mind, her mouth isn’t actually voicing a sound. She may find her older sister dead, so she’s afraid to speak to her and she is also afraid of realizing that she herself can’t possibly utter a word, which would mean she is dead. An official of the city where the sisters live has noticed their accident, but he doesn’t make an effort to help. The older sister dies and speaks to say that her life was very poor because of the enormous inheritance tax caused by the land left by their parents. Their parents had passed away suddenly. The younger sister only remains, still in her room without knowing whether she has seen the old year out or not and whether she is dead or not.

7:00pm Avidya – No Lights Inn (地獄谷温泉無明ノ宿)
written by Kuro Tanino
directed by Mallory Catlett
translated by Mari Boyd

The play is set in an old hot spring inn, located deep in the mountains of Japan. The health spa has long been cherished by the local villagers as a place to rest and cure them of their ailments. However, it is fated to be torn down to make way for a new railroad. One day in 2015, as the autumn prepares to change into winter, a rather peculiar father and son arrive from Tokyo. They are puppeteers who have come to put on a show at the request of the inn-owner. The father is a dwarf while his son is a rather eerie, expressionless figure who always seems to be wearing a mask. With their client nowhere in sight, the father and son wait in vain at the inn. As evening comes and their means of returning home is lost, they are forced to spend the night. While the villagers are puzzled by the sudden visit of this eccentric father and son, they are also intrigued. In time, the villagers find the depths of their minds shaken, exposing their inner darkness.

 

About the Playwrights

Satoko Ichihara is playwright, director, and novelist. Born in 1988, she studied theater at J.F. Oberlin University. Ichihara narrates the absurdity of life and the vitality of humans who shine in the rankling world from the perspective of women, delivered mainly through monologues. While setting great value on the bodies of performers, she also emphasizes the expression of texts and their rhythms. Her works are carefully built as if from an outside perspective into the behaviors of humans and animals. She aims to immerse the audience in the vibrancy and the bounding pulse of life. In 2011, Satoko received the Aichi Arts Foundation Drama Award with the play Insects. In 2013, she was selected to stage Qlobe of Life Ⅱ as part of the Festival/Tokyo. In 2016, the novel Insects was released in the literary journal Subaru. In 2017, she was a finalist for 61st Kishida Kunio Playwriting award for Favonia’s Fruitless Fable and was invited to present Favonia’s Fruitless Fable at the Seoul Marginal Theater Festival. In 2018 Satoko became a Saison Foundation Junior Fellow Artist. qqq-qqq-qqq.com

 

Photo courtesy of the artist

Kuro Tanino, a playwright and director, was born in 1976 in Toyama Prefecture. Kuro Tanino is the artistic director of Niwa Gekidan Penino as well as resident playwright and director. He is a Saison Foundation Senior Fellow. After launching Niwa Gekidan Penino while still a medical student in 2000, he has since written and directed all the company’s plays. He was nominated for the prestigious Kishida Kunio Drama Award in 2007 and 2008, and has received invitations to festivals around the world. He premiered Käfig aus Wasser in March 2015 in Germany, while Avidya: No Lights Inn won the Kishida Kunio Drama Award in 2016.

 

Photo courtesy of the artist

Jun Tsutsui, born in Osaka in 1971, is a director, playwright and performer who leads dracom, an Osaka-based performance group. He received his MA at Osaka University of Arts in 1997, the Kyoto Art Center Performing Arts Award for his direction of dracom’s Moreuta in 2007 and The Saison Foundation’s Senior Fellow scholarship for 2014–2016. With dracom he has participated in such events as the International Showcase of Tokyo Performing Arts Market 2008, Emerging Artists Program of Festival/Tokyo 2010, Sound Live Tokyo 2014 in collaboration with Small Wooden Shoe (Toronto) and Nippon Performance Night 2017 at FFT (Düsseldorf). He has worked with such artists/groups as Akio Suzuki, Zan Yamashita, Noriyuki Kiguchi, Masataka Matsuda, Ishinha, Toenkai and Takatsuki Senior Theatre Company formed by amateur performers all older than 50, as well as on dance projects with Kyoto University of Art & Design and Dance Box (Kobe). He has been running a small space OPA_Lab in Settsu City, Osaka, where he regularly presents experimental productions including Rough Play, where performers collectively learn a full-length classical or contemporary play in a day and perform it relying only on their uncertain and unorganized memory.

 

About the Directors

Mallory Catlett is a creator and director of performance across disciplines from opera and music theater to plays and installation art. She is the founder of Restless NYC whose Obie Award winning production, This Was The End, was recently remounted at Mabou Mines. Work outside of Restless includes: visual artist Nene Humphrey’s Transmissions (2017) at Leslie Heller Gallery and Mika Karlsson’s opera The Echo Drift (Prototype Festival 2018). She is a member of the multi-disciplinary artist led performance venue The Collapsable Hole. In NYC her work has premiered at 3LD, HERE, PS122, Abrons, Chocolate Factory; featured at COIL, Prototype and BAM’s Next Wave; and toured internationally to Canada, France, UK, Ireland & Australia. She is a Foundation of Contemporary Arts 2015 Awardee and a 2016 Creative Capital Artist. She is an Assistant Professor in Theatre Arts at Stony Brook University.

 

Photo courtesy of the artist

Kristine Haruna Lee is a theater maker whose work navigates non-linear playwriting, the practice and performance of auto-theory, and the construction of visually rich performance landscapes with her company harunalee, hailed by the New York Times as “So full of impulses and splendid, fractious energy”. Recent plays with harunalee include Memory Retrograde (The Public’s Under The Radar Festival), to the left of the pantry and under the sugar shack (La MaMa Club), and War Lesbian (Dixon Place TONY LGBT Critic’s Pick). Her play Suicide Forest directed by Aya Ogawa will premiere at the Bushwick Starr in February 2019. She’s a recipient of the MAP Fund Award, the Lotos Foundation Prize for Directing, New Dramatists Van Lier Fellowship, and has been a member of Interstate 73, The Public’s Devised Theater Working Group, Ars Nova Maker’s Lab, and BAX AIR. She is an affiliated artist with New Georges and currently in the Soho Rep Writer/Director Lab. MFA Brooklyn College for Playwriting with Mac Wellman and Erin Courtney, BFA NYU Tisch Experimental Theater Wing.

Soraya Broukhim is a multidisciplinary artist, an actor, a director, a poet, a teacher & Ayurvedic healer. She has collaborated in creating new devised projects with The Living Theatre beside Judith Malina and core-members since 2010, with A Laboratory for Actor Training e.t.c. beside director Vernice Miller, Ripe Time, Williamstown Theatre Festival, O’Neill Playwright Conference, Drama League, Tofte Lake Center & National Theatre Institute. She is an Artistic Associate at the Living Theatre. And Development-Marketing Director at A.L.A.T. etc. Ms. Broukhim is also currently an adjunct professor at Fordham University Lincoln Center teaching majors Devised-Collaboration Theatre. She graduated from Fordham University at Lincoln Center, BAADA, NTI & St.Petersburg Arts Theatre Academy. Acting credits include: The Aeneid (music by Dunkan Sheik, Drama League, Workshop), Outside the World (HERE), Petrol Station (BAM/NYU), No Place to Hide (Artistic Associate/Living Theatre), and many others.

Start: Nov 12, 2018
End: Nov 12, 2018
Venue: Segal Theatre
Category:
, ,

November 13

Japanese Playwrights Project (Day 2): Yudai Kamisato/Tony Torn/Sarah Hughes, Satoko Ichihara/Kyoko Takenaka

Yudai Kamisato’s Isla, Isla, Isla! Photo © Yuta Fukitsuka

Tuesday, November 13
Segal Theatre
4:00pm, 7:00pm Readings + Discussions

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

After the success of the first edition of the Japanese Playwrights Project (JPP) in 2007 once again the Segal Center brings some of the brightest, most innovative, and most engaging emerging playwrights from Japan to New York to develop their pieces through translation into English and public readings of the work. The Japan Playwrights Project plays an important role in introducing contemporary writing and dramaturgy from Japan to the US.

In 2018, the Japanese Playwrights Project is proud to present:

A Question of Faeries by Satoko Ichihara
Favonia’s Fruitless Fable by Satoko Ichihara
Isla, Isla, Isla! by Yudai Kamisato
Avidya – No Lights Inn by Kuro Tanino
Sokonaizu by Jun Tsutsui

The Japanese Playwrights Project 2018 was made possible by the generous support of the Japan Foundation, New York (Koji Nozaki, Sanae Tani, and Kenji Matsumoto). Additional support for English translations by the Japan Playwrights Association. The Japanese Playwrights Project 2018 was initiated and realized by Frank Hentschker and Aya Ogawa.

Board of Advisors – Japan: Peter Eckersall, Shintaro Fujii, Kako Kishimoto, Hiromi Maruoka, Aya Ogawa, Toshiki Okada, and Masahiko Yokobori.
Board of Advisors – New York: Peter Eckersall, Anne Erbe, Frank Hentschker, Andrew Kircher, Kate Loewald, Aya Ogawa, and Yoko Shioya.

Participants of the 2007 JPP included Masataka Matsuda, Akio Miyazawa, Toshiki Okada, and Mikuni Yanaihara. Josh Fox/International WOW Company; Dan Safer/Witness Relocation, Jay Scheib, and The Play Company each presented successful productions in New York theatres.

 

 

 

Tuesday, November 13 (Click here for Day 1 schedule)

4:00pm Isla, Isla, Isla! (イスラ!イスラ!イスラ!)
written by Yudai Kamisato
directed by Sarah Hughes, performed by Tony Torn
translated by Aya Ogawa

On a fictitious island in the south, an island dictator addresses his countless soldiers before a battle. In part he recounts the story of how he, the king of the island himself, arrived on the island and encountered the first natives there. He goes on to describe the lengthy history of how he brought “civilization” to the island, and recounts his violent encounters with his rival, a monstrous bird of the island. Soon the island is wracked by a huge earthquake, followed by the arrival of a wave of foreigners. With the new inventions brought onto the island, the island itself is transformed irrevocably. The king’s words gradually become the voice of the island itself. With references to real historical events, this play portrays an epic and mythological reflection on colonization, immigration, culture and civilization.

7:00pm A Question of Faeries (妖精の問題)
written and directed by Satoko Ichihara
performed by Kyoko Takenaka with English subtitles by Aya Ogawa

The 2016 mass murder of disabled people that shook Japanese society to the core was the departure point for the playwright. The play turns a critical eye towards contemporary society’s value judgment on issues of ideology of eugenics, and the aging population. The play is comprised of three acts in three different styles (Act 1 as rakugo, a traditional Japanese stand-up comedy form; Act 2 as a music piece; and Act 3 a seminar) and performed primarily by a single performer. The second act requires live accompaniment by a pianist, featuring compositions by emerging composer Masashi Nukata (Tokyo Siokouji / nuthmique). The actor Kyoko Takenaka was the first Japanese actor to be accepted into Frances’ École nationale supérieure d’art dramatique de Montpellier as an actor. This performance for JPP is a simplified version of the full production and is performed by one main actor.

 

About the Playwrights

Photo courtesy of the artist

Yudai Kamisato is a director and playwright, and the head of Okazaki Art Theatre.
He was born in Peru in 1982 and in now based in Tokyo and Kawasaki. In his teens, he lived for a few years in the Republic of Paraguay and the United States of America. In 2006, he became the youngest person ever to win the first prize in the TOGA Directors Competition for his staging of Desire Caught by the Tail, a farcical play with a script by Pablo Picasso, and he won the prize for the Kishida Kunio Drama Award in 2018 with The Story of Descending the Long Slopes of Valparaíso which premiered in Kyoto Experiment 2017. He made his debut as a novelist in 2013. In October 2016, he undertook one year of residence in Buenos Aires, Argentina under the Program of Overseas Study for Upcoming Artists offered by the Japanese Agency for Cultural Affairs. Between fiscal years 2011 and 2016, he served as a junior fellow of The Saison Foundation. More recently, he has been creating works that derive from heightened interest in his own identity and reflect deep insights into problems confronting immigrants and workers, the relationship between the individual and national identity, and communication with contemporary others.

Satoko Ichihara is a playwriter, director and novelist. Born in 1988. Studied theater at J.F. Oberlin University. Ichihara narrates the absurdity of life and the vitality of humans who shine in the rankling world from the perspective of women, delivered mainly through monologues. While setting great value on the bodies of performers, she also emphasizes the expression of texts and their rhythms. Her works are carefully built as if from an outside perspective into the behaviors of humans and animals, and aim to immerse the audience in the vibrancy and the bounding pulse of life. 2011, Receives the Aichi Arts Foundation Drama Award with the play “Insects” .2013, Serected to stage “Qlobe of Life Ⅱ” as part of the Festival/Tokyo. 2016, Released the novel “Insects” in the literary journal “Subaru”. 2017, Nominated for finalist of 61st Kishida Kunio Playwriting award for “Favonia’s Fruitless Fable”. Invited to present “Favonia’s Fruitless Fable” at the Seoul Marginal Theater Festival. 2018, Selected to The Saison Foundation Junior fellow Artist.

 

About the Directors

Sarah Hughes is a director and producer of theater and new media. She’s developed performances with artists such as Eliza Bent, Julia May Jonas / Nellie Tinder, MJ Kaufman, Sibyl Kempson, McFeely Sam Goodman, Chana Porter, Deepali Gupta, Cara Scarmack, Alaina Ferris, and Pablo Helguera. With Graham Sack, Geoff Sobelle & Sensorium she’s created VR & AR pieces for Tribeca Film Festival, New York Theatre Workshop, and The New York Times. She’s presented work at Abrons Arts Center, BAM Next Wave, JACK, The Bushwick Starr, Japan Society, PEN World Voices, Columbia University, and Prelude, among others. Sarah worked with Elevator Repair Service from 2007-14, assistant directing Gatz, The Select, Arguendo, Shuffle, and Fondly, Collette Richland, and she was Co-Artistic Producer of Target Margin Theater from 2015-17. www.sarahcameronhughes.com

Start: Nov 13, 2018
End: Nov 13, 2018
Venue: Segal Theatre
Category:
, ,

November 26

50 Years to 1968: A Sit-In Seminar

Photo by Paul Klee. From the Collection of Paul Cronin.

Monday, November 26
Segal Theatre
All Day Seminar

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

In 1968, the student body emerged on the global scene as a cohesive revolutionary movement fighting alongside oppressed people in India, East and Western Europe, South and North America, and articulating a new political horizon. 50 years later, what remains of that emancipatory promise?

In an all-day event, the Segal Center and the Doctoral Students of Theatre and Performance will stage a critical homage to the 1968 sit-ins and alternative modes of congregation, inviting students, activists, scholars, artists and workers to share the space, sit together, talk, perform, meet and listen. The sit-in at the Segal will create an open forum for participants from different groups and areas to debate, experiment and re-imagine the political roles and potential of the student body and its collaborators today – both inside and outside the university.

Created in collaboration with Doctoral Students of Theatre and Performance, Amir Farjoun and Mara Valderrama.

Date: November 26
Venue: Segal Theatre
Category:
, , ,

December 3

Parliament (1st NY Session) with Michael Kliën (Austria)

Photo courtesy of the artist.

Monday, December 3
Segal Theatre
4:30pm Performance + 8:30pm Artist Talk

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

The Segal Center is proud to present the CUNY version of Parliament: A choreographic site for citizens. Parliament is a pioneering work of situational choreography and exploration of ecological aesthetics. The work offers participants a critically needed withdrawal from normal modes of social action and provides instead an innovative site for 21st-century experimentalist cooperation. Embedded in the immediacy of Kliën’s choreographic framework, citizen-performers, working in silence, come together to bear witness to and hold council amidst the elemental phenomena and fundamental concerns of collectively lived experience. Pointing towards unseen and unexperienced modes of social organization, Parliament traverses, probes and navigates the paradigms that animate our present-day political relations.

Produced in collaboration with Cory Tamler.

Photo courtesy of the artist

Michael Kliën (born 1973) is a choreographer and artist. Considered one of Europe’s most notable thinkers in contemporary dance and choreography, he has been commissioned by leading institutions including Ballett Frankfurt, Martha Graham Dance Company, New Museum, Irish Museum of Modern Art, and Hayward Gallery. As Artistic Director/CEO of Daghdha (2003-2011, Ireland) he developed an extended, socio-politically engaged choreography referred to as ‘Social Choreography’. Kliën’s practice encompasses interdisciplinary thinking, writing, curation, and centrally, choreographic works equally at home in performing and fine arts. He was awarded a PhD from Edinburgh College of Art in 2009. In 2017 Kliën took up the position of Associate Professor of Practice at Duke University.

Start: Dec 3, 2018
End: Dec 3, 2018
Venue: Segal Theatre
Category:
, ,

December 10

Performing Knowledge: What Does Learning Feel Like?

Joseph Beuys, Untitled (Sun State), 1974.

Monday, December 10
Segal Theatre
All Day Lecture Performances with Meg Araneo, Patricia Clough, Amir Farjoun, Jon McKenzie, Aneta Stojnic, and others

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

What is the role of aesthetics in the production and dissemination of knowledge and research? In what new ways can we perform our knowledge, and to what new ends?

Un-covering and celebrating the latent performative potential of any pedagogical situation, prominent scholars and graduate students convene to consider such basic, yet often neglected questions: what does learning feel like? Philosopher and political scientist Wendy Brown calls upon scholars to recover “what is ineffably moving, sublime, or meaningful in the humanities.” Performing Knowledge seeks to do exactly that, focusing on the Humanities’ struggles with trends of neoliberalism.

Performing Lecturers include Meg Araneo, Patricia Clough (The Affective Turn), Jon McKenzie (Perform or Else) and Aneta Stojnic, and Graduate Students.

Performing Knowledge is an initiative by Amir Farjoun, Ph.D. Student of Theatre and Performance at the Graduate Center CUNY, in collaboration with the Segal Center. Co-produced with Mara Valderrama.

Date: December 10
Venue: Segal Theatre
Category:
, , ,

December 12

Devised Theatre: Curating, Producing, Presenting (A Practical Roundtable)

Covers of Moment Work: Tectonic Theater Project’s Process of Devising Theater and Ensemble-Made Chicago: A Guide to Devised Theater.

Wednesday, December 12
Segal Theatre
6:30pm Discussion + 3:00pm Workshop + 5:30pm Book Talk

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

What is devised theater? This form, which confounds traditional notions of theatermaking, is itself confounding. It has come to mean many different (and sometimes conflicting) things, depending on the context. Join our working group discussion, featuring producing institutions, funders, artists, legal experts, and scholars, as we attempt to create a comprehensive definition for the “devised theater.” What happens when the collaboration expands beyond traditional definitions? How is the work curated, produced, presented, compensated and credited?

3:00pm Workshop
Register at mestc@gc.cuny.edu for a special Devised Theatre afternoon workshop with the Dramatists Guild, who organized an International Devised Theatre Conference as a part of their 2018 National Conference.

5:30pm Book Talk
with Jimmy Maize, Moment Work (2018), and Chloe Johnston, Ensemble-Made Chicago: A Guide to Devised Theater (2018)

Organized and led by Andrew Kircher, Director of The Public Theater’s Devised Theater Initiative + an afternoon workshop with the Dramatist Guild on their new devised theater contract templates.

Andrew Kircher is the Director of the Devised Theater Initiative and associate dramaturg at the Public Theater. As a creative producer, he has worked with companies including Ars Nova, Les Freres Corbusier, and Jollyship the Whiz-Bang, and was previously the associate director of the Under the Radar Festival. He has served on panels with NEFA, Creative Capital, among others. He curated the 2017 and 2018 PRELUDE Festival.

Start: Dec 12, 2018
End: Dec 12, 2018
Category:
, , ,

December 13

Teatro delle Albe (Italy): Artist Talk with Marco Martinelli

Photo by Lidia Bagnara.

Thursday, December 13
La MaMa Theater – Downstairs Theatre (66 4th Street, New York)

6:30pm Artist Talk

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

Join us for an artist talk with Marco Martinelli and a reading by Ermanna Montanari from Teatro delle Albe’s latest production, Love’s Faithful (fedeli d’amore) – A Polyptych in Seven Panels for Dante Alighieri (Fedeli d’Amore). The unusual participatory work is a reflection by Marco Martinelli “about” Dante Alighieri and the contemporary world. Dante, himself a refugee, fled from Florence when he was condemned to death by burning at the stake. We meet Dante on his deathbed in 1321, exiled in Ravenna, the home of the Teatro delle Albe.

This “polyptych” for the stage enriches the itinerary by Martinelli and Montanari on The Divine Comedy, a project from 2017 to 2021 where the whole city is a stage and all citizens are called on to participate.

 

Photo courtesy by artist

Marco Martinelli, playwright and director, founded with Ernanna Montanari the Teatro delle Albe (1983), one of the most respected Italian theatre companies. Martinelli has been awarded numerous prizes including: five Ubu Prizes; the Drammaturgia In/Finita Prize; the Hystrio Prize; the Golden Laurel-international Festival Mess; the Prize for Career Achievement- international festival Journées théâtrales de Carthage.His texts have been published and staged in Italy, France (selected by the European projects on contemporary playwriting Face à Face and Fabulamundi), Belgium, Germany, Romania, Slovakia, Chile, Brazil and the United States (translated in English by Thomas Simpson).

Ermanna Montanari, actress, author and set designer, Teatro delle Albe’s founder and artistic director with Marco Martinelli, for her work and in particular for her extraordinary itinerary of vocal and musical research, has been awarded prestigious acknowledgements including: three Ubu Prizes, the Golden Laurel-international Festival Mess; the Lo straniero Prize-dedicated to the memory of Carmelo Bene; the Eleonora Duse Prize, and the Prize of the Associazione Nazionale Critici di Teatro.

Presented in collaboration with Umanism, Italian Playwright Project, Valeria Orani (Director) with additional support from La MaMa, Mia Yoo, Artistic Director, and the Italian Cultural Insitute.
Media partner Rai Radio3

     

Start: Dec 13, 2018
End: Dec 13, 2018
Venue: LaMaMa- The Downstairs, 66 4th Street, New York, NY
Category:
, ,

December 17

Experimental Theatre + Performance Publishing with 3 Hole Press, 53rd State Press, and Ugly Duckling Presse

Left to Right: Matvei Yankelevic, Mac Wellman, Kate Kremer (photos courtesy of the artists), and Rachel Kauder Nalebuff © Roman Kane.

Monday, December 17
Segal Theatre
6:30pm Discussion

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

The 2018 Daniel Gerould Memorial Lecture

Why publish a play in the 21st century? What are the limits of performance and paper—and what becomes possible when they converge? Can something be so analog that it becomes futuristic? In the last decades, independent publishing houses have taken up the challenge to re-think the relationship between print and performance in our times of post-dramatic theatre and ubiquitous virtual texts.

Join Mac Wellman, publishers Matvei Yankelevich (Ugly Duckling Presse), Kate Kremer (53rd State Press), Rachel Kauder Nalebuff (3 Hole Press) and affiliate artists from each press for conversations and readings from newly released works.

Is God Is
By Aleshea Harris
Introduced by Dawn Lundy Martin
3 Hole & Soho Rep. Special Edition
2018

 

 

 

Pop Star Series
By Neal Medlyn
53rd State Press
2016

 

 

 

A Piece of Work
By Annie Dorsen
Ugly Duckling Presse
2017

 

 

 

 

Start: Dec 17, 2018
End: Dec 17, 2018
Venue: Segal Theatre
Category:
, , ,
iCal Import
css.php
Need help with the Commons? Visit our
help page
Send us a message
Skip to toolbar