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September 27

Towards Arab Dramaturgies (Day 1)

Hunter Canning  World Premier of The Strangest. by Betty Shamieh, 2017, 4th Street Theater 

Thursday, September 27th   
2:00pm–9:00pm Conference Room #9206, 9th floor

Friday, September 28th   
9:00am–6:00pm Skylight Room #9100, 9th floor

Free + Open to the public
First come, first served
Please RSVP here: mestc@gc.cuny.edu

We would like to invite you to participate and attend the upcoming  Towards Arab Dramaturgies symposium in New York City at the Graduate Center, CUNY, New York.

The 2018 symposium Towards Arab Dramaturgies is part of the exchange partnership between the Martin E. Segal Theater Center, the Ph.D. Program in Theatre and Performance at The Graduate Center CUNY and the Theater Initiative at the American University of Beirut (AUB). The symposium is organized and curated by Marvin Carlson, Peter Eckersall, Frank Hentschker and Salma S. Zohdi, with additional support from Sahar Assaf and Robert Myers.

|About the Symposium|

With a focus in this symposium on Arabic dramaturgies, we hope to begin to answer these questions. As a term that bridges the ideas and practice of contemporary performance, dramaturgy draws our attention to the process of artistic production. It explores the notion that process is performance and invites us to look at the question of how artists connect ideas and forms in their work.

This symposium will feature research papers, artist talks and roundtable events. The sessions and papers will be compiled in a publication/book that will be generated from the discussions at the convening. The event will be live streamed and will be archived at the Segal Center’s Youtube page.

Contemporary theatre and performance in the Arabic world is a diverse and contested set of practices that are unfolding in a fast-changing political and culturally complex region. In this situation, the performing arts are under pressure to independently produce new work, uphold traditions— and simultaneously to speak about contemporary lives, nationalism, class, race, religion, gender and new forms of theatre. In this symposium, we ask how theatre can continue to grow, develop artistically and continue to be a voice in the future of the Arabic world. How can the theatre in the region thrive?

Scheduled speakers and panelists include: Khalid Amine, Eman Antar, Sahar Assaf, Dalia Basiouny, Nedjma Hadj Benchelabi, Wafaa Bilal, Leila Buck, Marvin Carlson, Peter Eckersall, Yussef El Guindi, Rania Khalil, Amahl Khouri, Ashley Marinaccio, Robert Myers, Rashi Mishra, Rubén Polendo, Heather Raffo, Betty Shamieh, and Sarah Youssef.

|Schedule|

Day 1, Thursday, Sept, 27
(Conference Room #9206, 9th floor)

 

2:00pm – 5:00pm      Paper Presentations / Q&A

  • Robert Myers: Using Theater History, Translation Studies and Performance Studies to Redefine Arab Dramaturgy
  • Nedjma Hadj Benchelabi: Resistance Creative Languages
  • Eman Antar: Dances of Resistance in the Middle East and North Africa
  • Rashi Mishra: Traversing through the Siege: Role of movement and memory in performing cultural resistance
  • Ashley Marinaccio: Youth Theatre in Palestine

5:00pm –  6:00pm            Break

6:00pm –  6:15pm            Welcome note by Chase Robinson
Welcome by Marvin Carlson, Peter Eckersall, Frank Hentschker, Sahar Assaf, and Robert Myers

6:30pm –  7:30pm            Keynote by Wafaa Bilal / Q&A

 7:30pm –  7:40pm            A tribute to Hazem Azmi: (Moment of Silence, Excerpt readings)

7:30pm –  9:00pm            Drinks & Snacks in Green Room, Room 3111, 3rd Floor

For day 2 schedule, click here.

 

 

 

Date: September 27
Venue: Room 9206
Category:
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September 28

Towards Arab Dramaturgies (Day 2)

Photo: Hunter Canning  World Premier of The Strangest. by Betty Shamieh, 2017, 4th Street Theater

Thursday, September 27th   
2:00pm–9:00pm Conference Room #9206, 9th floor

Friday, September 28th   
9:00am–6:00pm Skylight Room #9100, 9th floor

Free + Open to the public
First come, first served
Please RSVP here: mestc@gc.cuny.edu

We would like to invite you to participate and attend the upcoming  Towards Arab Dramaturgies symposium in New York City at the Graduate Center, CUNY, New York.

The 2018 symposium Towards Arab Dramaturgies is part of the exchange partnership between the Martin E. Segal Theater Center, the Ph.D. Program in Theatre and Performance at The Graduate Center CUNY and the Theater Initiative at the American University of Beirut (AUB). The symposium is organized and curated by Marvin Carlson, Peter Eckersall, Frank Hentschker and Salma S. Zohdi, with additional support from Sahar Assaf and Robert Myers.

 |About the Symposium|

With a focus in this symposium on Arabic dramaturgies, we hope to begin to answer these questions. As a term that bridges the ideas and practice of contemporary performance, dramaturgy draws our attention to the process of artistic production. It explores the notion that process is performance and invites us to look at the question of how artists connect ideas and forms in their work.

This symposium will feature research papers, artist talks and roundtable events. The sessions and papers will be compiled in a publication/book that will be generated from the discussions at the convening. The event will be live streamed and will be archived at the Segal Center’s Youtube page.

Contemporary theatre and performance in the Arabic world is a diverse and contested set of practices that are unfolding in a fast-changing political and culturally complex region. In this situation, the performing arts are under pressure to independently produce new work, uphold traditions— and simultaneously to speak about contemporary lives, nationalism, class, race, religion, gender and new forms of theatre. In this symposium, we ask how theatre can continue to grow, develop artistically and continue to be a voice in the future of the Arabic world. How can the theatre in the region thrive?

Scheduled speakers and panelists include: Khalid Amine, Eman Antar, Sahar Assaf, Dalia Basiouny, Nedjma Hadj Benchelabi, Wafaa Bilal, Leila Buck, Marvin Carlson, Peter Eckersall, Yussef El Guindi, Rania Khalil, Amahl Khouri, Ashley Marinaccio, Robert Myers, Rashi Mishra, Rubén Polendo, Heather Raffo, Betty Shamieh, and Sarah Youssef.

|Schedule|

Day 2, Friday, Sept, 28
(Skylight Room #9100, 9th floor)

9:00am – 9:50am             Registration/Coffee

10:00am –  11:30am        Arab Stages Advisory Board Session
Marvin Carlson: Arab Dramaturgies: A Mutiplicity of Options
Introduction by Betty Shamieh
Conversation with Marvin Carlson and others / Q&A

11:30pm –  1:00pm         Theatre of the Real: Dramaturgy in the Arab Context
with Amahl Khouri, Theatre Mitu, Sahar Assaf, and Peter Eckersall / Q&A

1:00pm –  2:30pm            Lunch Break

 * 2:30pm –  4:00pm        Paper Presentations

  • Khalid Amine: Alternative Arab Dramaturgies
  • Sarah Youssef: Arab Dramaturgies on the European Stage: Liwaa Yazji’s Goats (Royal Court, 2017), Mohammad Al-Attar’s The Factory (Ruhrtriennale, 2018)
  • Dalia Basiouny: Dramaturgies of the Revolution
  • Frank Hentschker: Segal Center Publications

* 4:00pm –  5:30pm        Arab American and Arab Artists in conversation / Q&A
Opening by Yussef El Guindi
Conversation with Sahar Assaf, Dalia Basiouny, Leila Buck, Rania Khalil, Amahl Khoury, Heather Raffo, and Betty Shamieh

* 5:30pm –  6:00pm        Wrap up, Recap, and Conclusions by Marvin Carlson, Peter Eckersall, Frank Hentschker, Sahar Assaf, and Robert Myers

* Coffee and snacks in Green Room, Room 3111, 3rd Floor

For day 1 schedule, click here

 

Date: September 28
Venue: SKYLIGHT ROOM
Category:
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October 22

Vegard Vinge (Norway) + Ida Müller (Germany)

Photo courtesy of the artists

Monday, October 22
Segal Theatre
6:30pm Artist Talk + All Day Screenings

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.

*Screening schedule to be announced.

Date: October 22
Venue: Segal Theatre
Category:
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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

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.

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.

Start: Oct 24, 2018
End: Oct 24, 2018
Venue: Elebash Recital Hall
Category:
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November 12

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

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

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

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.

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 2014–2017. 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.

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

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

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

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

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

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.

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 2014–2017. 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.

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

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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 13, 2018
End: Nov 13, 2018
Venue: Segal Theatre
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December 3

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

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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.

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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
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December 13

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

Photo by Lidia Bagnara

Thursday, December 13
La MaMa Theater (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 Ernanna Montanari from Teatro delle Albe’s latest production, Love’s Faithful – 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.

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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.

 

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