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May 30, 2017

Artist talk with Tadashi Suzuki (Japan)

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EVENT VIDEO

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

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

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

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

Event Schedule

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

 

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

 

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

Start: May 30, 2017
End: May 30, 2017
Venue: Segal Theatre
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September 18, 2017

Artist Talk: Veit Sprenger (Showcase Beat Le Mot, Germany)

Artist Talk: Veit Sprenger (Showcase Beat Le Mot, Germany)

Start: Sep 18, 2017
End: Sep 18, 2017
Venue: Segal Theatre
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October 12, 2017

Thomas Ostermeier (Schaubühne, Berlin)

Thomas Ostermeier (Schaubühne, Berlin)

Start: Oct 12, 2017
End: Oct 12, 2017
Venue: Segal Theatre
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October 16, 2017

The Judaica Project with Nazlıhan Eda Erçin (Turkey), Agnieszka Mendel (Poland), & Ben Spatz (US)

The Judaica Project

Start: Oct 16, 2017
End: Oct 16, 2017
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October 17, 2017

Contemporary Theatre in Lebanon with Sahar Assaf (AUB), Marvin Carlson, Peter Eckersall, and Frank Hentschker

Contemporary Theatre in Lebanon with Sahar Assaf (AUB), Marvin Carlson, Peter Eckersall, and Frank Hentschker

Start: Oct 17, 2017
End: Oct 17, 2017
Venue: Theatre Green Room, 3rd Floor, Room 3111
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October 23, 2017

2017 Gilder/Coigney International Theatre Award: Adelheid Roosen. Co-presented with the League of Professional Theatre Women

2017 League of Professional Theatre Women’s Gilder/Coigney International Theatre Award: Adelheid Roosen

Start: Oct 23, 2017
End: Oct 23, 2017
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November 6, 2017

Female Voices from Brazil with Ana Maria Gonçalves, Cidinha da Silva, & Marcia Zanelatto

Female Voices from Brazil

Start: Nov 6, 2017
End: Nov 6, 2017
Venue: Segal Theatre
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November 20, 2017

Shūji Terayama’s Americans, who are you? (America-jin Anata-wa), Laura (Rora), and The Trial (Shinpan)

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Monday, November 20
Segal Theatre
6:30pm Performance Screenings with Terayama collaborator, Henrikku Morisaki

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

This evening will feature rare combination of performance and film screenings by legendary avantgarde Japanese poet, dramatist, writer, film director, and photographer Shūji Terayama. Many critics view him as one of the most productive and provocative creative artists to come out of Japan. He has been cited as an influence on various Japanese filmmakers from the 1970s onward.

One of the screenings, The Trial, will include the restaging of Terayama’s 1974 film performance with the original actor, Henrikku Morisaki. The screenings are part of a retrospective tour of Shūji Terayama works at Anthology Film Archives (Nov. 21-Dec. 10) and Harvard Film Archive.

Americans, who are you? / America-jin Anata-wa [Japan 1967, Black and White, 45 min]
Directed by Haruhiko Hagimoto, Written by Shūji Terayama
Produced by Tokyo Broadcasting System Holdings, Inc.
A rare chance to see a documentary by Shuji Terayama –and one that was shot in the United States and made for Japanese television. In this portrait of mid-1960s USA, a Japanese woman confronts passersby on the street with a set of questions devised by Terayama, who once declared he’d like to become a question mark.

Laura (Rora) [Japan 1974, 16mm, color, 9 min]
Directed by Shūji Terayama, Japanese with English subtitles
Inspired by the unfulfilled affair between Laura and Alec in the 1945 British feature, Brief Encounter, Terayama’s outrageous screen fantasy features the onscreen appearances of painted strippers who hurl insults at the audience. One spectator/performer, actor Henrikku Morisaki, will enter the film and emerge clutching his torn clothes, after being stripped and assaulted on celluloid.

The Trial (Shinpan) [Japan 1975, 16mm, color, 34 min]
Directed by Shūji Terayama, no subtitles
With Keiko Niitaka, Yoko Ran, Sueshi Sasada
The Trial begins as a man hammers nails into a city street before normal social order collapses and the ‘disturbance’ spreads to an act of violent audience participation; Terayama made this work for projection on a specially constructed screen and provides blank film at the end as an invitation for audience members to abandon their position as spectators.

Followed by a discussion with Terayama collaborator Henrikku Morisaki, professors Julia Alekseyeva (CUNY Brooklyn), Peter Eckersall (GC, CUNY), Tom Looser (NYU), and Alex Zahlten (Havard University), and Chizuru Usui (National Film Center, The National Museum of Modern Art, Tokyo).

The 2017 Terayama retrospective tour is presented in partnership with Harvard Film Archive, Anthology Film Archives, the George Eastman Museum, The Japan Foundation, and the National Film Center, The National Museum of Modern Art, Tokyo, with the generous support of the Kinoshita Group. In collaboration with Go Hirasawa and Julian Ross.

 

                

 

 

 

 

 

 

Start: Nov 20, 2017
End: Nov 20, 2017
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December 4, 2017

Italian Playwrights Project 2017. Co-presented with Umanism NY

 

Monday, December 4
Segal Theatre
6:30pm

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

After the success of the first edition of the Italian Playwrights Project (IPP, 2015/16) and a special evening dedicated to the work of Stefano Massini (Teatro Piccolo, Milan) IPP, once again the Segal Center will collaborate with Valeria Orani and Umanism NY (www.unmanism.com). The initiative will bring some of the brightest, innovative, and most engaging playwrights from Italy to New York to develop their pieces through translation into English and public readings of the work. The Italian Playwrights Project plays an important role in introducing contemporary writing from Italy to the US. The project restarted an artistic dialogue between the two countries which has been sporadic over the last 30 years.

Participants of 2015/16 IPP included Lucia Calamaro, Daria Deflorian & Antonio Tagliarini, Stefano Massini, Fausto Paravidino, and Michele Santeramo. For the first time US playwrights will also be presented in Rome, Italy on December 16th, 2017.

This year’s special evening will include excerpted readings from The Horizon of Events by Elisa Casseri; My hero by Giuliana Musso; A Notebook for the Winter by Armando Pirozzi; and The Great Walk by Fabrizio Sinisi.

Excerpts directed by Marc Atkinson, Sara Rademacher, and John Gould Rubin.

Followed by a panel discussion moderated by Frank Hentschker with the Italian playwright Elisa Casseri and other participants.

Supported by the Italian Cultural Institute of New York (Giorgio Van Straten, Director). The upcoming anthology of New Plays from Italy from the 2015 IPP has been translated thanks to a grant by the Italian Ministry of Foreign Affairs and International Cooperation.

  

About the plays:

The Horizon of Events 
written by Elisa Casseri
directed by John Gould Rubin
Olga is stuck in a studio apartment, which has a wall with many doors and cupboards, a front door which doesn’t open and no windows: she cannot figure out what has happened, she only knows that she cannot escape. When she tries to open one of the doors on the wall, she immediately comes back from another one and continues to stay there. At some point, however, she realizes that time is messed up and that every time she leaves, she enters a different time of her life.

It turns out that the doors are a black and white hole device, which draws her own personal story into the room, including events and people she loves, as if she had been kept captured in a maze of memories.

Marco is her boyfriend but sometimes he isn’t, her father is alive but later dead, her mother left when she was a little girl but she is suddenly back. Olga struggles to understand and does not know what reality is and what she can do to change what happened and what didn’t happen. She cannot surrender to the real time, to past events, to those journeys into a grief which is too true to be science fiction.

She learnt from her father that the edge of the black holes is the horizon of the events, because it simply moves away as we get closer, which is how future works, too. You cannot fight against future by giving up on the present, you cannot deny present by locking yourself inside the past. So, when reality materializes and Olga realizes that her father is dead, that Marco has decided to leave his country and when her mother tries to ask forgiveness, she understands that the only way to overcome grief is to feel it.
So she runs away in order to learn how to get back.

My Hero
written by Giuliana Musso
directed by Marc Atkinson
Mio Eroe (My Hero) is made up of three distinct monologues. The protagonists of the monologues are three mothers of as many Italian soldiers who took part in the International Security Assistance Force (ISAF) mission in Afghanistan during the years 2008-2010. Two of these mothers lost their son in battle. The three women are very different from each other for social extraction, geographic origin, cultural level and personality, but they share the experience of having a soldier’s son. Mothers’ talk interlaces memories of childhood, stories of tragic events, considerations on their child’s choices. Characters are inspired by existing people and real-life events.

A Notebook for the Winter
written by Armando Pirozzi
directed by Sara Rademacher
Un quaderno per l’inverno (A Notebook for the Winter) is a two-actor-piece which in three acts and tells the story of an introvert professor of literature who finds a burglar on his way back home. The knife-wielding burglar wants something unexpected from him: it is a question of life or death. During the entire night the two characters talk, exchange ideas, feelings, ask painful questions out of hope and desperation, in a completely new and unexpected atmosphere. They will meet again years later, both affected by that night. Although their personal memory of that night is different, yet it may have triggered a change in both of them, by offering a further comprehension and awareness of each other. The key idea is based on the power of writing as a way to directly impact reality: the wonder resilience of poetry is not seen as a literary exercise, but rather as a vibrant force which affects life.

The Great Walk
written by Fabrizio Sinisi
directed by Sara Rademacher
The president of the International Monetary Fund, Frederic Jean-Paul, is arrested and kept in an anonymous New York police station: he’s accused of sexual violence inflicted on a waitress. His two bizarre jailers, Donald and Frank, have been ordered to guard the prisoner until the following morning, when he will be brought to a safer location. However, things don’t go as planned: Jean-Paul shows signs of an inexplicable anxiety; Barbara, Jean-Paul’s wife, and Marcel Labiche, his lawyer and secretary of the French Socialist Party, soon break into the police station. Moreover, the two jailers seem to embody something more terrible than two simple guards. Elements of a bigger affair emerge during this night, an affair that does not simply concern violence between individuals, but also among nations, political subjects, and groups of power. Inspired by well-known international news, The Great Walk tries a “cotemporary” recycling of conventional dramatic traditions linked to tragedy: faithful to the dictates of the Aristotelian unities of time and place, it’s composed in the regular verses of the Italian metrics (hendecasyllabic, sectarian).

 

Playwrights: 

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Elisa Casseri (born in Latina in 1984) has a degree in mechanical engineering. She published Teoria idraulica delle famiglie, Elliot Edizioni, in 2014 and a year later she won the 53rd edition of the theatre award Premio Riccione with the text L’orizzonte degli eventi. She publishes the blog “Memorie di una bevitrice di Estathè» and contributes to the “Nuovi Argomenti” magazine.

 

 

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Giuliana Musso is an actress and playwright. Born in Vicenza in 1970. Lives in Udine. Since 2001 she has been writing and producting narrative and investigative works; her work is characterized by its blend of oral testimony, comedy and lyricism. Her first trilogy was about the “fundamentals” of life, birth, sex and death: Born in the Home (2001), Sexmachine (2005) and Tanti Saluti (2008). In 2009 she began an exploration of the history and structure of the patriarchy with La città ha fondamenta sopra un misfatto (2010), inspired by Medea; Stimmen by Christa Wolf, La Fabbrica dei preti (2012) on Life and Training in Italian seminaries before Concilum Vat II; and Mio Eroe (2016), the contemporary war in the voices of some military mothers whose sons died in Afghanistan. Other writing and productions were: Indemoniate, on a case of female collective hysteria in Friuli at the end of the nineteenth century; La base, a theatrical investigative laboratory on the construction of the US military base “Ederle 2” in Vicenza; Dreams, a dance-show on over-indebtedness. Since 2008 her production house is La Corte Ospitale, Rubiera (RE).

Awards:
Critic Award 2005
Cassino Off Award 2017 for Mio Eroe
Hystrio Prize for Dramaturgy 2017

Publications:
Nati in casa video was published in the “Teatro in- Civile” series, Ed. The Manifesto. Nati in casa is published in the anthology “Senza Corpo” and Ed. Minimum Fax. The dvd of Tant Saluti is published in “Storie Necessarie” Ed. Rai Cinema and Argot Productions. La città ha fondamenta sopra un misfatto is published in the anthology Donne che non seguono il copione Ed. Aracne.

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Armando Pirozzi was born in Naples on the 4th of October 1973. He wrote and directed “Cronache da un Tempo Isterico” which obtained the special production award “Nuove Sensibilità 2008” and went onstage during the Turin Teatro a Corte Festival of 2009 (SE POSSIBILE METTEREI IL MESE VICINO ALLA DATA, ANZICHE’ ESTATE). His piece “La Prima della Sera” opened the Theatre Fringe Festival in Naples, Italy, in 2009. His following piece “Attraverso il Furore”, was written on Meister Eckhart and directed by Massimiliano Civica; it was premiered at the Armunia – Inequilibrio Festival of Castiglioncello in July 2011. “Soprattutto l’Anguria” was shortlisted at Premio Riccione of 2009 and then brought onstage by Massimiliano Civica during the Romaeuropa Festival. His 2013 work “Hard Times” was shortlisted at Premio Riccione. “Altamente Volatile” was written in 2015 for the school recital for the end of his third year at the Accademia d’Arte Drammatica Silvio D’Amico. It was directed by Massimiliano Civica. Pirozzi wrote “Il Cielo in una Stanza”, with Emanuele Valenti in 2016, who brought it onstage with the troupe Punta Corsara at the Theatre Festival in Naples, Italy. His latest piece “Un Quaderno per l’Inverno” premiered at the Fabbricone theatre in Prato, under the direction of Massimiliano Civica, in March 2017.

Photo by Luca Fiore

Fabrizio Sinisi was born in Barletta in 1987. Playwright, poet, and translator, in 2012 he debuted as a theater author with “La grande passeggiata” for Federico Tiezzi’s direction and Sandro Lombardi’s acting. As for poetry, he published “La fame” and “Contrasto dell’uomo e della donna”, which were presented during the XXVII edition of the Salone internazionale del Libro di Torino, and for which he was mentioned in the 2015 Carducci Prize. In 2016, his “Natura morta con attori” debuted at the Piccolo Teatro in Milan, while his “Agamennone” was part of the season at the Teatro Stabile in Turin; in 2016 his “Cabaret D’Annunzio” debuted at the National Croatian Theater in Rijeka. In 2017, his “La valigia di Ravel” was produced the Maggio Musicale Fiorentino, making Sinisi the youngest author represented during the course of the prestigious Tuscan event. His texts have already obtained the nominations for the most important dramaturgical awards in Italy, among which the Riccione Tondelli Prize, the Platea Prize, and the Testori Prize. In 2010, at just 20 years old, he became dramaturg of the Compagnia Lombardi-Tiezzi in Florence and of the Teatro Laboratorio della Toscana, as well as professor of Dramaturgy at the Scuola di Scrittura Flannery O’Connor in Milan. During the three-year period of 2018-2020 he is resident dramaturg at the Centro Teatrale Bresciano. For years, he has been collaborating with the main directors of Italian theater. His works have been staged in Croatia, France, Great Britain, Greece, Romania and Switzerland.

 

Directors: 

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Marc Atkinson is a New York City based director, originally from Ireland, the UK and Catalonia. Marc co-founded Sugarglass whose work has been presented internationally, including the Irish Premier of Tender Napalm by Philip Ridley (Project Arts Centre Dublin), All Hell Lay Beneath, an immersive adaptation of Herman Hesse’s Steppenwolf (Dublin Fringe Festival/Irish Times Cultural Highlight of 2012), Five Minutes Later by Ellen Flynn (The Lir Academy) and, for International Human Rights Day, Ethica: Four Shorts by Samuel Beckett (Krastyo Theatre Bulgaria/Happy Days Festival Enniskillen/Irish Presidential Residence). Recently, Marc directed the tour of Outlying Islands by David Greig (Connelly Theater, New York/Samuel Beckett Theatre, Dublin), Last Night in Inwood by Alix Sobler (Signature Theater Center, New York), Zelda and Scott by Bethie Fowler (Atlantic Theater Studio, New York) and Chuck Mee’s Big Love (Samuel Beckett Theatre, Dublin). Assistant Director to Anne Bogart at SITI Company, Joe Murphy and Lisa Dwan at The Old Vic and The Abbey Theatre, and Ivo van Hove at Toneelgroep Amsterdam. Earlier this year, Marc was the Associate Director for Selina Cartmell’s inaugural production at The Gate Theatre, The Great Gatsby. Marc was awarded the Jennifer Johnston Directing Bursary and, as Shubert Presidential Scholar, graduated with an MFA from ColumbiaUniversity in 2016. Marc will next direct a new adaptation of Gorky’s Children of the Sun and a production of the opera Brundibar.

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Sara Rademacher is a freelance theatre director originally from the Central Coast of California and currently based in Brooklyn, New York. She is the Co-Founder and former Artistic Director of Elements Theatre Collective, whose mission is to bring professional quality theatre free of charge to audiences with limited access.  Sara is dedicated to creating theatre to engage her community both locally and globally. She holds an MFA in Theatre Directing from Columbia University in New York City, where she currently lives and works. She directed for the Segal Center’s presention of Classic Arab Plays in 2016. Some favorite directing credits include Caught Dreaming (Best Director nom.), The Last Five Years, Gruesome Playground Injuries, The Love Song of J. Robert Oppenheimer, and boom.  Before forming Elements, she studied theatre in South Africa, and earned her BA in Dramatic Arts at UCSB. She has worked in Casting, Assistant Directing, Dramaturgy and other positions in regional theaters including The Guthrie, Seattle Repertory, Mixed Blood, Marin Theatre, and more. Sara currently works at The National Theatre Conference. SaraRademacher.com​

Photo by Jim Cox

John Gould Rubin is Artistic Director of The Private Theatre, for which he mounted a radical, site-specific, Hedda Gabler and Strindberg’s Playing with Fire graphically produced at The Box, a notorious burlesque house. Recently he created and directed Turn Me Loose about the life of Dick Gregory, (Finalist for the Joe Calloway Award for Excellence in Directing) off Broadway and at The Wallis Annenberg Center in Los Angeles with Joe Morton; both American Buffalo with Treat Williams and Stephen Adly Guirgis and Outside Mullingar with Michael Hayden and Mary Bacon at The Dorset Theater Festival and Michael Ricigliano’s play, Queen for a Day with David Proval and Vinnie Pastore off-Broadway; Billy Hayes’ one-man true story in Riding The Midnight Express off-Broadway, in LA, Edinburgh and at the Soho Theater in London; The Fartiste, off-Broadway and Double Indemnity for the Old Globe in San Diego. He was co-Artistic and Executive Director of LAByrinth Theater Company (w/John Ortiz and Phillip Seymour Hoffman,) for which he directed eight shows including premieres by John Patrick Shanley and Erin Cressida Wilson, produced Jesus Hopped the ‘A’ Train (for LAByrinth, off-B’way, in Edinburgh, at the Donmar Warehouse and on The West End) and Our Lady of 121st Street (for LAByrinth and Off-B’way.) Other recent New York Work includes: The Cherry Orchard with Ellen Burstyn, at The Actor’s Studio; and a dual-theater production of The Seagull (at the Harold Clurman Lab.) He directed Peer Gynt with wheel-chair-using British actor, Neil Hancock, for The International Ibsen Festival in Oslo, and a bilingual workshop of Ximena Escalante’s Electra Despierta at Cal Arts. He wrote and performed in Karole Armitage’s multi-media show, The Predators’ Ball, which premièred at The Pergola Theater in Florence, Italy, and at The Next Wave Festival at BAM. With The Private Theatre he is presently devising a large-scale work about American Political Polarization based on the consciousness of conflict philosophy of Barnard Lonergan – Rocco, Chelsea, Adriana, Sean, Claudia, Gianna, Alex – and a radical new version of A Doll House by Royston Coppenger. He also produced the tour of Travis Preston’s one-man Macbeth with Stephen Dillane accompanied by a jazz trio, to London, Sydney, Australia and New Zealand.

 

US Advisory Board:
Keith Josef Adkins (Artistic Director, New Black Fest)
Marvin Carlson (Professor of Theatre, The Graduate Center, CUNY)
Anne Cattaneo (Dramaturg and Director, LCT Directors Lab, Lincoln Center Theatre)
Migdalia Cruz (US Playwright)
Mia Chung (US Playwright)
Marco Calvani (Italian Playwright and Director based in New York)
Frank Hentschker (Segal Center, The Graduate Center, CUNY)
Kate Loewald (Artistic Director, The Play Company)
Bonnie Marranca (PAJ, Publisher Performing Arts Journal)
Terry Nemeth (Publisher, Theatre Communications Group, Inc.)

Italian Advisory Board:
Simone Bruscia (Writer, Producer, Director of Riccione Teatro)
Roberto Canziani (Theatrical Critic for Il Piccolo, University of Udine
Graziano Graziani (Journalist, Radio Conductor RAI Radio 3 – Italy)
Stefano Massini (Playwright)
Valeria Orani (Producer, Artistic Director Umanism NY – 369gradi Italy)
Debora Pietrobono (Italian dramaturgy and dramatic critic)
Giulia Delli Santi (Director of Teatro Pubblico Pugliese, Apulia Theatre Network)

Start: Dec 4, 2017
End: Dec 4, 2017
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February 23

Richard Gough: Global Dramaturgies

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Friday, February 23
Room #3416, GC CUNY, Third Floor
12:00pm Lecture

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

Join scholar, author, and editor Richard Gough as he explores and anticipates the future of global dramaturgy. Gough will discuss changes in international dramaturgical practice, why we should be interested in it, what new ways of research might look like, and what pitfalls might arise. Followed by a discussion with Peter Eckersall.

Performance Research resists disconnected, disembodied and disinterested forms of scholarship. Performance Research combines writings and works for the page in an interplay of analysis, anecdote, polemic, and criticism–interweaving the oblique with the conflicting, the pivotal with the resistant and the eclectic with the indispensable.

Richard Gough is Artistic Director of the Centre for Performance Research (CPR), Professor of Performance Research, Falmouth University, Fellow of IRC/IPC Freie Univeristat Berlin, and General Editor of Performance Research (The Journal of Performance Arts published bi-monthly by Routledge, Taylor & Francis) and Performance Books. He was founding President (1997-2001) of Performance Studies international (PSi) and he has curated and organized numerous conference and workshops over the last 40 years as well as directing and lecturing internationally.

Start: Feb 23, 2018
End: Feb 23, 2018
Venue: Room 3416
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March 1

Segal Center Film Festival on Theatre and Performance 2018

Segal Center Film Festival on Theatre and Performance 2018

Start: Mar 1, 2018
End: Mar 3, 2018
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March 26

Jean-François Côté: The Revival of Aboriginal Theater Metamorphosis of the Americas

Cover image from “The Revival of Aboriginal Theater Metamorphosis of the Americas” by Jean-François Côté.

Monday, March 26
Segal Theatre
6:30pm Discussion

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

Join us for an evening exploring the work of Canadian sociologist Jean-François Côté, whose latest book focuses on indigenous theatre in Canada as a new form of expression within the transcultural transformation of the Americas. Indigenous theatre, Côté argues, has been experiencing a renaissance for over thirty years—drawing from its traditional forms, but equally inspired by modern avant-garde theatre artists. The dramatic works of Canadian artists Yves Sioui Durand & Catherine Joncas (Ondinnok Ensemble), Monique Mojica, and Drew Hayden Taylor are in line with theatrical experiments of Antonin Artaud, Gertrude Stein, and Bertolt Brecht. Using the stage as a contemporary reflection on the current situation of Native Americans, the revival of indigenous theatre transcends the theatrical experience.

A lecture will be followed by a discussion with Jean-François Côté, Muriel Miguel & Gloria Miguel (Spiderwoman Theater), and Frank Hentschker.

Photo courtesy of the artist.

Jean-François Côté is a professor of sociology at Université du Québec à Montréal. He specializes in sociology of culture, theory and epistemology. He has published 12 books (single-authored, edited, and coedited), among which are Poe, Stein, Warhol. Figures de la modernité esthétique (La Lettre Volée, 2003), Entretiens avec Wajdi Mouawad (Leméac, 2005), George Herbert Mead’s Concept of Society. A Critical Reconstruction (Routledge, 2015), and most recently La Renaissance du théâtre autochtone. Métamorphose des Amériques I (Presses de l’Université Laval, 2017). His current interests focus on theatre, law, and transculturation in the Americas. He was a Fulbright Scholar (2011-12) in the US and a guest professor at various universities in Mexico, Austria, and France.

Muriel Miguel is a director, choreographer, playwright, actor and educator. She has directed almost all of Spiderwoman’s shows since their debut in 1976, in which time, they have written and produced over twenty original works for the theatre. She has choreographed Throw Away Kids and She Knew She Was She for the Banff Centre for the Arts. She was the director of The Scrubbing Project with Turtle Gals Performance Ensemble in Toronto, More then Feathers and Beads with Murielle Borst Tarrant, and Evening in Paris with Raven Spirit Dance Company in Vancouver. She has worked with Native Earth Performing Arts in Toronto as an actor and dramaturg for their annual Weesageechak Begins to Dance Play Reading Festival. As an actor, she created the role of Philomena Moosetail in The Rez Sisters, written by Tomson Highway. This play was a seminal work in the development of a First Nations play repertory in Canada. She played Aunt Shadie in The Unnatural and Accidental Women by Marie Clements; Martha in Buz’Gem Blues by Drew Hayden Taylor and Spirit Woman in BONES: An Aboriginal Dance Opera. She most recently performed in the off-Broadway hit, The Lily’s Revenge at Here! Arts Center. She has created one woman shows Hot’ N’ Soft, Trail of the Otter and most recently Red Mother which was produced by Spiderwoman Theater at La MaMa E.T.C. in May 2010. As an educator, Muriel was an Assistant Professor of Drama at Bard College. She is a pioneer in the development of a culture–based methodology for the training of Indigenous theatre students and is an instructor of Indigenous Performance at the Centre for Indigenous Theatre (CIT) full time program in Toronto. She is also Program Director for CIT’s three week summer intensive which has run both at Trent University in Ontario and at the University of Lethbridge in Alberta. She was a Program Director for the Aboriginal Dance Program and an instructor of Indigenous performance at The Banff Centre for the Arts for seven years. She has developed four shows for The Minnesota Native American AIDS Task Force working with inner city native youth on HIV/AIDS issues. www.spiderwomantheater.org

Gloria Miguel is Kuna/ Rappahannock. She studied drama at Oberlin College and is a founding member of Spiderwoman Theater. She has worked extensively in film and television. With Spiderwoman Theater, she has toured throughout Europe, Australia, and New Zealand. She toured the United States in Grandma, a one-woman show, toured Canada as Pelaija Patchnose in the original Native Earth production of Tomson Highway’s The Rez Sisters and performed in Native Earth’s Son of Ayash in Toronto. She performed as Coyote/Ritalinc in Jessica, a Northern Lights Production in Edmonton, Canada and was nominated for a Sterling Award for best-supporting actress. She was a drama consultant for the Minnesota Native American AIDS Task Force to develop a play on AIDS. She was a drama teacher at the Eastern District YMCA in Brooklyn, NY and a visiting professor of drama at Brandon University in Canada. She attended and performed at the Mending the Sacred Hoop Domestic Violence Conference in Flagstaff, Arizona. She taught drama workshops at the Native American Writers and Artist Forum in Red Mesa, Grey Hills, and Rough Rock, Navajo Nation Reservation. She performed in Beijing, China at the 4th World Woman’s Conference. She and Lisa Mayo received a Rockefeller Grant and funding from the Jerome Foundation to create Nis Bundor: Daughters from the Stars. She taught Drama at Rough Rock Navajo High School in Arizona. She has created a one-woman show A Kuna Grows in Brooklyn. She has a DFA honorary degree from Miami University in Oxford, OH and is a lifetime member of the Lee Strasberg Institute. In March 2006, she appeared in the Spanish film Caotica Ana in Madrid, Spain. She has presented her new one-woman show Something Old, Something New, Something Borrowed, Something Blue at The Museum of the American Indian in Washington, DC; at Story-ing the Human Being: Two Generations of Native Women on Stage at the University of Toronto; with AMERINDA at NYTW Annex and Ohio Northern University’s 9th International Theatre Festival and at La MaMa E.T.C. as part of the Elder Project . She has most recently performed in Chocolate Woman Dreams the Milky Way in Vancouver and Toronto. www.spiderwomantheater.org

Spiderwoman Theater presents exceptional theatre performance and offers theater training and education rooted in an urban Indigenous performance practice. We entertain and challenge our audiences and create an environment where the Indigenous, women’s and arts communities can come together to examine and discuss their cultural, social and political concerns.

Start: Mar 26, 2018
End: Mar 26, 2018
Venue: Segal Theatre
Category:
,

April 9

Etel Adnan: At a Certain Hour of the Night with Klaudia Ruschkowski & Bonnie Marranca

Etel Adnan in Paris, October 2016. Photo by Antonio Maria Storch

 

 

Monday, April 9
Segal Theatre
2:00pm Screenings + 6:30pm Reading and Discussion

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

Join us to celebrate the life and work of Lebanese-American poet, essayist, and visual artist Etel Adnan. Afternoon screenings will be followed by a reading of one of her plays, At a Certain Hour of the Night, directed by Zishan Ugurlu (Turkey), Associate Professor of Theatre at Eugene Lang College, The New School, New York; and a discussion with Klaudia Ruschkowski and Bonnie Marranca. Presented as part of the exchange between the CUNY Graduate Center and the American University of Beirut.

Additional support by PAJ Publications/PAJ: A Journal of Performance and Art, Bonnie Marranca, editor.

Screenings
2:00pm 
Words in Exile directed by Vouvoula Skoura | 2007, 52 minutes
For Etel Adnan, the world dawns in Beirut. The city is revisited throughout the film as her idiosyncratic universe is composed of closed and open spaces, the interplay of light and darkness, of conversations of consequence, of women, and of references to her many travels.

3:00pm
Serpentine Transformation Marathon

Organized and introduced by Hans-Ulrich Obrist | 2015, 21 minutes
For Etel Adnan Marin County, California became a center of life. Etel speaks about her experience painting in San Francisco in the 1960s and her relationship with Mount Tamalpais in Marin County.

3:25pm
The Weight of the World | 2016, 5 minutes
Curator Rebecca Lewin discusses Etel Adnan’s exhibition at the Serpentine Gallery. In her home in Paris, the artist speaks about her paintings and the color red.

3:30pm
In Conversation with Artist Etel Adnan | 2015, 16 minutes
Rachael Thomas (Senior Curator & Head of Exhibitions, IMMA) speaks with Etel in Paris about painting, performance, postmodernism, poetry, photography, movies, politics, and love.

3:50pm
Etel Adnan on Cross-Cultural Poetics | 2006, 20 minutes
Etel Adnan discusses and reads from her book In the Heart of the Heart of Another Country – a response to William Gass’s In the Heart of the Heart of the Country.

4:15pm
Motion | 90 minutes
Super 8 film material taken by Etel Adnan from the 60’s on.

Photo by Antonio Maria Storch

Etel Adnan is a poet, philosopher, and painter. The author of numerous essays and of plays, she writes across languages, cultures, and continents. Born in Beirut in 1925, she describes herself as an “alchemical product.” Her father was a Muslim from Syria born in Damascus and an officer of the Ottoman Empire. Her mother was a Greek from Smyrna, Turkey. At home, she lived with two religions, two languages, and two civilizations: the Islamic and the Greek. Her school in Beirut was French, with no reference to the Arab world outside. “Already as a child,” she says, “I had to construct my personality, to build myself up, in order to be something.” Her parents were living in a country not their own and Adnan discovered quickly that their life, as well as hers, was somehow “in between.” Her play At a Certain Hour of the Night was recently published in PAJ 117, PAJ: A Journal of Performance and Art (MIT Press). Etel was in a recent document at Kassel and shows at Serpentine Gallery, London and in Qatar. She also worked with Bob Wilson on the Paris Civil Wars section.

Photo by Antonio Maria Storch

Klaudia Ruschkowski was born in 1959 in Dortmund and lives in Volterra, Italy. She is an author, dramaturg, curator, publisher, and translator of English and Italian literature into German. From 1984 on, she has worked for various West and East German theatres as well as the Napoli Teatro Festival, Italia and the Biennale Musica di Venezia. In 1991, she co-founded and was the co-director of The European Culture Centre of Turingia, Erfurt until 1997. From 1999 to 2010, she organized programs and workshops for the International Heiner Müller Society, Berlin. In 2000, she founded, with Wolfgang Storch, Villa Le Guadalupe Spazio Per Le Arti in Volterra. Klaudia has worked in collaboration with Etel Adnan since 1999 as a translator and publisher of various poetry books, essays, interviews, and texts.

Bonnie Marranca is founding publisher and editor of the Obie-Award winning PAJ Publications/PAJ: A Journal of Performance and Art, which celebrated its 40th year in 2016. A recent recipient of the Association for Theatre in Higher Education Excellence in Editing Award for Sustained Achievement, she has written or edited seventeen books. She is the author of three volumes of criticism, Performance Histories, Ecologies of Theatre, and Theatrewritings, and edited several play anthologies, interview and essay collections, including Conversations with Meredith Monk,  New Europe: plays from the continent, Interculturalism and Performance, and Plays for the End of the Century. Her essays have been translated into twenty languages. A Guggenheim Fellow and Fulbright Senior Scholar, Bonnie Marranca is Professor of Theatre at The New School for Liberal Arts/Eugene Lang College.

Photo courtesy of the artist

Zishan (Zisan) Ugurlu has worked extensively both in New York and abroad as a theater artist since 1995. She is an actress and director-in-residence at La MaMa and Great Jones Repertory Company. She has performed in numerous productions with Great Jones Repertory Company, including Panorama directed by Italian company Motus as part of The Under The Radar Festival 2018. Panorama will be presented in Italy, Belgium, Spain, and South Korea. She is currently working on two directing projects: Music Room is about the prison system and will be performed by formerly incarcerated individuals and Fragments, Lists, and Lacuna written by Alexandra Chasin, featuring Judith Butler. She is a scientist/artist fellow at Ligo Project working with Dan McCloskey Lab. She is the founding artistic director of “Actors without Borders-ITONY.” She graduated from Columbia University with a MFA degree and holds a Ph.D. She is an Associate Professor at Lang College, The New School University. She is the recipient of the prestigious Fox Foundation Fellowship granted by Theater Communications Group.

Start: Apr 9, 2018
End: Apr 9, 2018
Venue: Segal Theatre
Category:
, ,

April 16

PEN World Voices: International Play Festival 2018 (Magali Mougel, Mihaela Drăgan, & Stefano Massini)

 

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2018. As part of the 2018 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by ten of the world’s most respected dramatists, including Edouard Elvis Bvouma (Cameroon), Mihaela Drăgan (Romania), Elfriede Jelinek (Austria), Yonatan Levy (Israel), Stefano Massini (Italy), Magali Mougel (France), Ana Luz Ormazábal (Chile), Aristide Tarnagda (Burkina Faso), Wei Yu-Chia (Taiwan), and Liwaa Yazji (Syria). With writers hailing from four different continents, the International Play Festival generates a conversation on art, politics, dreams, war, and philosophy, meant to give American audiences a rich awareness of global dialogues. Readings will be followed by a discussion with the playwright.

April 16, 17 + 21 | Segal Theatre
All Day Readings + Discussions
FREE + Open to public. First come, first served.

Monday, April 16

4:00pm Suzy Storck (France)
Written by Magali Mougel.
Directed by Sara Rademacher. Translated by Chris Campbell.
Discussion moderated by Nicole Birmann Bloom.

6:00pm Del Duma / Tell Them About Me! (Romania)
Written by Mihaela Drăgan.
Directed by George Eli. Translated by Claudia Campeanu.
Discussion moderated by Diana Benea.

8:00pm Intractable Woman (Italy)
Written by Stefano Massini.
Directed by Lee Sunday Evans. Translated by Paula Wing.
Discussion moderated by Kate Loewald, Valeria Orani, and Elena Kostyuchenko.

Tuesday, April 17

4:00pm Goats (Syria)
Written by Liwaa Yazji.
Directed by Zishan Ugurlu. Translated by Katharine Halls.
Discussion moderated by Saphe Shamoun.

6:00pm Ways of Loving (Burkina Faso)
Written by Aristide Tarnagda.
Directed by Kareem Fahmy. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

8:00pm On The Royal Road: The Burgher King (Austria)
Written by Elfriede Jelinek.
Directed by Stefan Dzeparoski. Translated by Gitta Honegger.
Discussion moderated by Luisa Muhr.

Saturday, April 21

2:00pm  A Fable For Now (Taiwan)
Written by Wei Yu-Chia.
Directed by Mei Ann Teo. Translated by Jeremy Tiang.
Discussion moderated by Melissa Wansin Wong.

4:00pm  In War as in Games (Cameroon)
Written by Edouard Elvis Bvouma.
Directed by Gisela Cardenas. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

6:00pm  Agnetha Kurtz Roca Method (Chile)
Written & Translated by Ana Luz Ormazábal.
Co-directed by Amelia Bande and SeungHyun Hwang.
Discussion moderated by Fabian Escalona.

8:00pm  Saddam Hussein – A Mystery Play (Israel)
Written & Co-Translated by Yonatan Levy.
Directed & Co-Translated by Amir Farjoun.

The PEN World Voices: International Play Festival 2018 has been made possible by the support of Susan and Jack Rudin(†) and Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

The PEN World Voices: International Play Festival was conceived, created, and curated by Frank Hentschker since 2007 in collaboration with PEN World Voices Festival. The 2018 Festival is produced by Yu Chien Liu, in collaboration with Frank Hentschker. Assistant Producer: Paloma Estévez.

Founded by Michael Roberts, Esther Allen, and Salman Rushdie in the aftermath of September 11, 2001, PEN World Voices is the only international literary festival in the world with a human rights focus. It attracts the world’s best-known writers and has garnered broad global acclaim as one of the world’s premier literary events. Since its founding, PEN World Voices has presented more than 1,500 writers and artists from 118 countries, speaking 56 languages. The 2018 festival will run from April 16-22, 2018. www.penworldvoices.org
Chip Rolley, Director, World Voices Festival, PEN America
Kim Chan, General Manager

 

Monday, April 16 | Segal Theatre

Visit here for more information about Day 2 and Day 3.

4:00pm Suzy Storck (France)
Written by Magali Mougel.
Directed by Sara Rademacher. Translated by Chris Campbell.

Another unbearably hot evening. Suzy Storck sits by the window. A glass of wine. A bottle. Three. Her husband has left. Maybe he’s coming home. Maybe he’s not. The radio buzzes. And still, the sun will just not set.

6:00pm Del Duma / Tell Them About Me! (Romania)
Written by Mihaela Drăgan.
Directed by George Eli. Translated by Claudia Campeanu.

Real stories about how four Roma women deal with life, social pressure, early marriage and dreams of escape. A serious solo-comedy performed by the Roma author.

8:00pm Intractable Woman (Italy)
Written by Stefano Massini.
Directed by TBA. Translated by Paula Wing.

A “theatrical memorandum” on Anna Politkovskaya, the Russian activist-journalist who exposed details of Russia’s war in Chechnya and fought government suppression, before her ruthless killing. In 2002, she was awarded the PEN Center USA Freedom to Write Award. In association with The Play Company, New York and Umanism NY (Valeria Orani, Director) as part of the Italian Playwrights Project. With additional support from Italian Cultural institute (Giorgio Van Straten, Director).

About the playwrights:

Photo courtesy of the artist

Magali Mougel (France), a finalist to the Grand Prix de littérature dramatique, has been writing prolifically for the theatre since 2014 and has been staged throughout France. She taught at the Université de Strasbourg, the Institut littéraire de Bern, and at ENSATT, Lyon. She is an associate playwright at the Scènes du Jura and joined the artistic collective at the Théâtre de Sartouville Yvelines CDN.

 

 

Photo by Nihad Nino Pusija

Mihaela Drăgan (Romania) is an actress and playwright who lives and works in Bucharest and Berlin. In 2014, she founded Giuvlipen Theatre Company together with other Roma actresses. In 2015 she appeared in the feature film Aferim directed by Radu Jude, which won the Silver Bear for directing at the Berlin International Film Festival. She is currently working in Berlin at the Maxim Gorki Theater.

 

 

Photo by Attilio Marasco

Stefano Massini (Italy) is a Pier Vittorio Tondelli Award winning playwright, director, and the artistic consultant at the Piccolo Teatro di Milano. Inspired by the 2008 economic banking crisis, Massini wrote the The Lehman Trilogy. Translated into 14 languages, the trilogy will be staged in July 2018 at the National Theater in London by Sam Mendes.

 

 

Start: Apr 16, 2018
End: Apr 16, 2018
Venue: Segal Theater
Category:
, ,

April 17

PEN World Voices: International Play Festival 2018 (Liwaa Yazji, Aristide Tarnagda, & Elfriede Jelinek)

 

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2018. As part of the 2018 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by ten of the world’s most respected dramatists, including Edouard Elvis Bvouma (Cameroon), Mihaela Drăgan (Romania), Elfriede Jelinek (Austria), Yonatan Levy (Israel), Stefano Massini (Italy), Magali Mougel (France), Ana Luz Ormazábal (Chile), Aristide Tarnagda (Burkina Faso), Wei Yu-Chia (Taiwan), and Liwaa Yazji (Syria). With writers hailing from four different continents, the International Play Festival generates a conversation on art, politics, dreams, war, and philosophy, meant to give American audiences a rich awareness of global dialogues. Readings will be followed by a discussion with the playwright.

April 16, 17 + 21 | Segal Theatre
All Day Readings + Discussions
FREE + Open to public. First come, first served.

Monday, April 16

4:00pm Suzy Storck (France)
Written by Magali Mougel.
Directed by Sara Rademacher. Translated by Chris Campbell.
Discussion moderated by Nicole Birmann Bloom.

6:00pm Del Duma / Tell Them About Me! (Romania)
Written by Mihaela Drăgan.
Directed by George Eli. Translated by Claudia Campeanu.
Discussion moderated by Diana Benea.

8:00pm Intractable Woman (Italy)
Written by Stefano Massini.
Directed by Lee Sunday Evans. Translated by Paula Wing.
Discussion moderated by Kate Loewald, Valeria Orani, and Elena Kostyuchenko.

Tuesday, April 17

4:00pm Goats (Syria)
Written by Liwaa Yazji.
Directed by Zishan Ugurlu. Translated by Katharine Halls.
Discussion moderated by Saphe Shamoun.

6:00pm Ways of Loving (Burkina Faso)
Written by Aristide Tarnagda.
Directed by Kareem Fahmy. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

8:00pm On The Royal Road: The Burgher King (Austria)
Written by Elfriede Jelinek.
Directed by Stefan Dzeparoski. Translated by Gitta Honegger.
Discussion moderated by Luisa Muhr.

Saturday, April 21

2:00pm  A Fable For Now (Taiwan)
Written by Wei Yu-Chia.
Directed by Mei Ann Teo. Translated by Jeremy Tiang.
Discussion moderated by Melissa Wansin Wong.

4:00pm  In War as in Games (Cameroon)
Written by Edouard Elvis Bvouma.
Directed by Gisela Cardenas. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

6:00pm  Agnetha Kurtz Roca Method (Chile)
Written & Translated by Ana Luz Ormazábal.
Co-directed by Amelia Bande and SeungHyun Hwang.
Discussion moderated by Fabian Escalona.

8:00pm  Saddam Hussein – A Mystery Play (Israel)
Written & Co-Translated by Yonatan Levy.
Directed & Co-Translated by Amir Farjoun.

The PEN World Voices: International Play Festival 2018 has been made possible by the support of Susan and Jack Rudin(†) and Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

The PEN World Voices: International Play Festival was conceived, created, and curated by Frank Hentschker since 2007 in collaboration with PEN World Voices Festival. The 2018 Festival is produced by Yu Chien Liu, in collaboration with Frank Hentschker. Assistant Producer: Paloma Estévez.

Founded by Michael Roberts, Esther Allen, and Salman Rushdie in the aftermath of September 11, 2001, PEN World Voices is the only international literary festival in the world with a human rights focus. It attracts the world’s best-known writers and has garnered broad global acclaim as one of the world’s premier literary events. Since its founding, PEN World Voices has presented more than 1,500 writers and artists from 118 countries, speaking 56 languages. The 2018 festival will run from April 16-22, 2018. www.penworldvoices.org
Chip Rolley, Director, World Voices Festival, PEN America
Kim Chan, General Manager

 

Tuesday, April 17 | Segal Theatre

Visit here for more information about Day 1 and Day 3.

4:00pm Goats (Syria)
Written by Liwaa Yazji.
Directed by Zishan Urgulu. Translated by Katharine Halls.

As the coffins pile up in a small town in Syria, a party leader decides to offer a goat for each martyred son. A father learns the hard way about the surreal reality of politics, war, martyrdom, and life. Presented with additional support from South-South Forum at Dartmouth College, Eman S. Morsi.

6:00pm Ways of Loving (Burkina Faso)
Written by Aristide Tarnagda.
Directed by Kareem Fahmy. Translated by Heather Jeanne Denyer.

Accused of murder, a woman dreams of the sun, the hills, and the wind while facing trial. She has no right hand with which to promise to tell the truth, the whole truth and nothing but the truth.

8:00pm On The Royal Road: The Burgher King (Austria)
Written by Elfriede Jelinek.
Directed by Stefan Dzeparoski. Translated by Gitta Honegger.

A blind female seer with bleeding eyes, Miss Piggy, channels a confused Tiresias as she tries to get a handle on the bizarre behavior of Donald Trump’s persona.

About the playwrights:

Photo by Florian Riemann

Liwaa Yazji (Syria) is a playwright, poet, filmmaker, and screenwriter, educated in both English Literature and Theater Studies in Syria. Her play Goats premiered in The Royal Court, London, in 2017. Her play Q&Q was selected for the International Women Playwright Conference 2018. She is currently a co-writer on HEIM, a German TV series. Her first documentary Haunted premiered in 2014 at FID Marseilles.

 

 

Photo by Lansman EmileCie

Aristide Tarnagda (Burkina Faso) studied at Jean-Pierre Guingané’s Théâtre de la Fraternité. In 2013, he directed his own play And if I was going to kill them all Ma’am? on a mainstage at the Avignon Theatre Festival, while another of his plays, Red Earth was included in the Off-Festival. He is the Artistic Director of the Récréâtrales Festival, one of the largest Pan-African performance festivals, based in Ouagadougou, Burkina Faso.

 

 

Photo courtesy of the artist

Elfriede Jelinek (Austria) was born in 1946. She grew up in Vienna
and now lives in Vienna and Munich. She has received numerous
awards for her literary works, which include not only novels but also
plays, poetry, essays, translations, radio plays, screenplays, and
opera librettos. Her awards include the Georg Büchner Prize and the
Franz Kafka Prize for Literature. In 2004, she was awarded with the Nobel Prize for Literature.

 

Start: Apr 17, 2018
End: Apr 17, 2018
Venue: Segal Theatre
Category:
, ,

April 21

PEN World Voices: International Play Festival 2018 (Wei Yu-Chia, Edouard Elvis Bvouma, Ana Luz Ormazábal, & Yonatan Levy)

 

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2018. As part of the 2018 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by ten of the world’s most respected dramatists, including Edouard Elvis Bvouma (Cameroon), Mihaela Drăgan (Romania), Elfriede Jelinek (Austria), Yonatan Levy (Israel), Stefano Massini (Italy), Magali Mougel (France), Ana Luz Ormazábal (Chile), Aristide Tarnagda (Burkina Faso), Wei Yu-Chia (Taiwan), and Liwaa Yazji (Syria). With writers hailing from four different continents, the International Play Festival generates a conversation on art, politics, dreams, war, and philosophy, meant to give American audiences a rich awareness of global dialogues. Readings will be followed by a discussion with the playwright.

April 16, 17 + 21 | Segal Theatre
All Day Readings + Discussions
FREE + Open to public. First come, first served.

Monday, April 16

4:00pm Suzy Storck (France)
Written by Magali Mougel.
Directed by Sara Rademacher. Translated by Chris Campbell.
Discussion moderated by Nicole Birmann Bloom.

6:00pm Del Duma / Tell Them About Me! (Romania)
Written by Mihaela Drăgan.
Directed by George Eli. Translated by Claudia Campeanu.
Discussion moderated by Diana Benea.

8:00pm Intractable Woman (Italy)
Written by Stefano Massini.
Directed by Lee Sunday Evans. Translated by Paula Wing.
Discussion with Kate Loewald, Valeria Orani, and Elena Kostyuchenko.

Tuesday, April 17

4:00pm Goats (Syria)
Written by Liwaa Yazji.
Directed by Zishan Ugurlu. Translated by Katharine Halls.
Discussion moderated by Saphe Shamoun.

6:00pm Ways of Loving (Burkina Faso)
Written by Aristide Tarnagda.
Directed by Kareem Fahmy. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

8:00pm On The Royal Road: The Burgher King (Austria)
Written by Elfriede Jelinek.
Directed by Stefan Dzeparoski. Translated by Gitta Honegger.
Discussion moderated by Luisa Muhr.

Saturday, April 21

2:00pm  A Fable For Now (Taiwan)
Written by Wei Yu-Chia.
Directed by Mei Ann Teo. Translated by Jeremy Tiang.
Discussion moderated by Melissa Wansin Wong.

4:00pm  In War as in Games (Cameroon)
Written by Edouard Elvis Bvouma.
Directed by Gisela Cardenas. Translated by Heather Jeanne Denyer.
Discussion moderated by Heather Jeanne Denyer.

6:00pm  Agnetha Kurtz Roca Method (Chile)
Written & Translated by Ana Luz Ormazábal.
Co-directed by Amelia Bande and SeungHyun Hwang.
Discussion moderated by Fabian Escalona.

8:00pm  Saddam Hussein – A Mystery Play (Israel)
Written & Co-Translated by Yonatan Levy.
Directed & Co-Translated by Amir Farjoun.

The PEN World Voices: International Play Festival 2018 has been made possible by the support of Susan and Jack Rudin(†) and Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

The PEN World Voices: International Play Festival was conceived, created, and curated by Frank Hentschker since 2007 in collaboration with PEN World Voices Festival. The 2018 Festival is produced by Yu Chien Liu, in collaboration with Frank Hentschker. Assistant Producer: Paloma Estévez.

Founded by Michael Roberts, Esther Allen, and Salman Rushdie in the aftermath of September 11, 2001, PEN World Voices is the only international literary festival in the world with a human rights focus. It attracts the world’s best-known writers and has garnered broad global acclaim as one of the world’s premier literary events. Since its founding, PEN World Voices has presented more than 1,500 writers and artists from 118 countries, speaking 56 languages. The 2018 festival will run from April 16-22, 2018. www.penworldvoices.org
Chip Rolley, Director, World Voices Festival, PEN America
Kim Chan, General Manager

 

Saturday, April 21 | Segal Theatre

Visit here for more information about Day 1 and Day 2.

2:00pm A Fable For Now (Taiwan)
Written by Wei Yu-Chia.
Directed by Mei Ann Teo. Translated by Jeremy Tiang.

Tales of war, the environment, and personal regret collide as mankind hurtles towards a surreal apocalypse in the company of a belligerent duck, bears of at least three different varieties, and a truly extraordinary chicken.

4:00pm In War as in Games (Cameroon)
Written by Edouard Elvis Bvouma.
Directed by Gisela Cardenas. Translated by Heather Jeanne Denyer.

After learning that the war is over, a lonely child soldier with a Kalashnikov tells a young girl the story of his life. For him, it is nothing more than a video game with animated characters.

6:00pm Agnetha Kurtz Roca Method (Chile)
Written & Translated by Ana Luz Ormazábal.
Directed by Amelia Bande.

A fictional Chilean philosopher and performance artist returns to her country after 30 years of self-exile. A conference play about language, identity, community, and immigration–both from and to Chile.

8:00pm Saddam Hussein – A Mystery Play (Israel)
Written & Co-Translated by Yonatan Levy.
Directed & Co-Translated by Amir Farjoun.

On the brink of military defeat, Saddam and his doppelgangers retreat to the bunker—and embark upon a spiritual quest. Blending politics, metaphysics, poetry and nonsense, the play follows the tyrant’s initiation into the esoteric secret of oil.

 

About the playwrights:

Photo courtesy of the artist

Wei Yu-Chia (Taiwan) studied playwriting at the Taiwan University’s Drama Department. She won the 2014 Taiwanese Literature Award for Playwriting with A Fable for Now. Other plays include Mama/Popstar (nominated for the 2015 Taipei Literature Award for Playwriting) and A Child from Nankoku (nominated for the 2017 New Taipei Award for Playwriting).

 

 

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Edouard Elvis Bvouma (Cameroon) is a playwright, actor, director,
novelist, and short story writer from Cameroon. His plays have been
staged throughout Africa and Europe, including the mainstage of
Avignon’s Theatre Festival. Bvouma has received multiple awards, including the Grands Prix Afrique du Théâtre Francophone. His plays are published by Lansman Editeurs.

 

 

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Ana Luz Ormazábal (Chile) is the award-winning artistic director of the ANTIMÉTODO Collective. Integrating practices of creation and research, she has developed work for the collective as a writer, dramaturg, and director. Ana teaches at Universidad Católica’s Theatre Department and is scheduled to begin work on her AL PACINO project at Robert Wilson’s Watermill Center.

 

 

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Yonatan Levy (Israel) is a playwright, poet, Waldorf educator, and
director. His work Saddam Hussein – A Mystery Play was featured in
the Theater der Welt Festival and the Schaubühne Berlin. His new opera, The Sleeping Thousand (Music by Adam Maor), will premiere at the Luxembourg Grand Theatre in 2019. Levy also co-founded the Shakked Waldorf High School and the Sheik Abreik Festival for Civilian Culture, both in Kiryat Tivon, Israel.

Start: Apr 21, 2018
End: Apr 21, 2018
Venue: Segal Theatre
Category:
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April 23

Two Days with Hans-Thies Lehmann Day #1

Photo courtesy of the artist

 

April 23 & April 24
Segal Theatre
Discussions + All Day Screenings

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

Join us for two evenings with German theatre researcher and author Hans-Thies Lehmann. His highly influential publication, Postdramatic Theatre (Routledge, 2006), established the modern visage of avant-garde theatre by cataloguing and defining the tendencies and stylistic traits of experimental works since the end of the 1960s. Scholars and colleagues Marvin Carlson, Elinor Fuchs, Brandon Woolf, John Jesurun, Uwe Mengel, Molly Davies, Peter Eckersall, Jonathan Kalb, Carol Martin, Melissa Wansin Wong, and Frank Hentschker will join Lehmann in discussion throughout the sessions.

 

Monday, April 23

Daytime screenings of excerpts from works by:

Robert Wilson
The Wooster Group
John Jesurun
Jan Lauwers
Romeo Castellucci
She She Pop
René Pollesch

10:00am Robert Wilson – The Civil Wars (1984)
11:00am The Wooster Group – Brace Up! (1991/2003)
                  To You, The Birdie! ( Phèdre) (2002)
12:00pm John Jesurun – Shatterhand Massacree – Riderless Horse (1985)
Black Maria (1987)
1:00pm Jan Lauwers & Needcompany: The Deer House (2008)
2:00pm Romeo Castellucci – Orestea (2015)
 Giulio Cesare Spared Parts (1997)
3:00pm She She Pop (with ihre Väter) – TESTAMENT (2010)
4:00pm René Pollesch – Stadt als Beute (City as Prey) (2005)
5:00pm Tadeusz Kantor – Dead Class (1975)

Evening Discussion:
6:30pm Postdramatic Theatre and the 21 Century
Hans-Thies Lehmann

7:00pm New Forms of Theatre – Conversation I
Uwe Mengel, John Jesurun, Molly Davies & Hans-Thies Lehmann

7:20pm Performance in the Age of Performance – Conversation II
Bertie Ferdman, André Lepecki & Hans-Thies Lehmann

7:40pm Dramaturgy and Asian Theatres – Conversation III
Peter Eckersall, Melissa Wansin Wong & Hans-Thies Lehmann

 

Tuesday, April 24

Daytime screenings of excerpts from works by:

Tadeusz Kantor
Théatre du Soleil/Ariane Mnouchkine
Klaus Michael Grüber
Einar Schleef
Angelus Novus
Jan Fabre
andcompany&Co

11:00am Ariane Mnouchkine/Théatre du Soleil – 1789 (1970)
Henri IV (1982)
12:00pm Klaus Michael Grüber – Die Bakchen (The Bacchae) (1974)
1:00pm Einar Schleef – Faust (1990)
Ein Sportstuck (by Elfriede Jelinek, 1998)
2:00pm Jan Fabre/Troubleyn – The Power of Theatrical Madness (1986, revived 2012)
Mount Olympus (2016)
3:00pm andcompany & Co. – Colonial Digital: The Empire Feeds Back! (2018)
4:00pm Rimini Protokoll – Wallenstein (2005)
Prometheus in Athens (2010)
5:00pm Gob Squad – Western Society (2013)

Evening Discussion:
6:30pm On Tragedy
Hans-Thies Lehmann

7:00pm On Writing – Conversation I
Elinor Fuchs, Jonathan Kalb & Hans-Thies Lehmann

7:20pm Theater of the Real – Conversation II
Marvin Carlson, Carol Martin & Hans-Thies Lehmann

7:40pm German Theatre and the Giessen Institut – Conversation III
Brandon Woolf, Frank Hentschker & Hans-Thies Lehmann

Special thanks to Richard Schechner and Yale University’s Department of Germanic Languages and Literatures (Katrin Trüstedt and Christian Kirchmeier).

Hans-Thies Lehmann is a professor emeritus for Theatre, Film, and Media Studies at the Johann Wolfgang Goethe-Universität Frankfurt am Main from 1988 until he was given emeritus status. His publications include Bertolt Brecht’s Hauspostille–Text und kollektives Lesen (1978, with Helmut Lethen); Theater und Mythos. Die Konstitution des Subjekts im Diskurs der antiken Tragödie (1991); Postdramatisches Theater (1999, now a standard work and translated into 26 languages); Heiner Müller Handbuch (ed. with Patrick Primavesi, 2003); and Tragödie und dramatisches Theater (Routledge, 2013). Hans-Thies Lehmann first studied general and comparative literary studies in Berlin and studied for his doctorate with Peter Szondi until his death. After gaining his doctorate, he was a visiting professor at the Universiteit van Amsterdam from 1979 to 1982. From 1983 to 1988, he was a university assistant at the Institute for Applied Theatre Studies in Gießen, where he substantially contributed to establishing and shaping the course of study with colleague Andzej Wirth. As a university professor for theatre studies at the J. W. Goethe-Universität Frankfurt/Main he made a remarkable contribution in devising theatre, film, and music studies courses, as well as establishing a course on dramaturgy in the framework of the Hessische Theaterakademie. In addition to guest professorships in Paris (France), Kaunas (Lithuania), Kraków (Poland), and Virginia (USA), Lehmann also works as a dramaturg for Jossi Wieler, Peter Palitzsch, Christof Nel, Theodoros Terzopoulos, Jan Fabre, and produces his own stage projects. He is on the board of the Gesellschaft für Theaterwissenschaft and a member of the Deutsche Akademie der Künste in Berlin. Hans-Thies Lehmann lives in Berlin with theatre critic Helen Varopoulou.

 

Start: Apr 23, 2018
End: Apr 23, 2018
Venue: Segal Theatre
Category:
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April 24

Two Days with Hans-Thies Lehmann Day #2

Photo courtesy of the artist

 

April 23 & April 24
Segal Theatre
Discussions + All Day Screenings

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

Join us for two evenings with German theatre researcher and author Hans-Thies Lehmann. His highly influential publication, Postdramatic Theatre (Routledge, 2006), established the modern visage of avant-garde theatre by cataloguing and defining the tendencies and stylistic traits of experimental works since the end of the 1960s. Scholars and colleagues Marvin Carlson, Elinor Fuchs, Brandon Woolf, John Jesurun, Uwe Mengel, Molly Davies, Peter Eckersall, Jonathan Kalb, Carol Martin, Melissa Wansin Wong, and Frank Hentschker will join Lehmann in discussion throughout the sessions.

Monday, April 23

Daytime screenings of excerpts from works by:

Robert Wilson
The Wooster Group
John Jesurun
Jan Lauwers
Romeo Castellucci
She She Pop
René Pollesch

10:00am Robert Wilson – The Civil Wars (1984)
11:00am The Wooster Group – Brace Up! (1991/2003)
                  To You, The Birdie! ( Phèdre) (2002)
12:00pm John Jesurun – Shatterhand Massacree – Riderless Horse (1985)
Black Maria (1987)
1:00pm Jan Lauwers & Needcompany: The Deer House (2008)
2:00pm Romeo Castellucci – Orestea (2015)
 Giulio Cesare Spared Parts (1997)
3:00pm She She Pop (with ihre Väter) – TESTAMENT (2010)
4:00pm René Pollesch – Stadt als Beute (City as Prey) (2005)
5:00pm Tadeusz Kantor – Dead Class (1975)

Evening Discussion:
6:30pm Postdramatic Theatre and the 21 Century
Hans-Thies Lehmann

7:00pm New Forms of Theatre – Conversation I
Uwe Mengel, John Jesurun, Molly Davies & Hans-Thies Lehmann

7:20pm Performance in the Age of Performance – Conversation II
Bertie Ferdman, André Lepecki & Hans-Thies Lehmann

7:40pm Dramaturgy and Asian Theatres – Conversation III
Peter Eckersall, Melissa Wansin Wong & Hans-Thies Lehmann

 

Tuesday, April 24

Daytime screenings of excerpts from works by:

Tadeusz Kantor
Théatre du Soleil/Ariane Mnouchkine
Klaus Michael Grüber
Einar Schleef
Angelus Novus
Jan Fabre
andcompany&Co

11:00am Ariane Mnouchkine/Théatre du Soleil – 1789 (1970)
Henri IV (1982)
12:00pm Klaus Michael Grüber – Die Bakchen (The Bacchae) (1974)
1:00pm Einar Schleef – Faust (1990)
Ein Sportstuck (by Elfriede Jelinek, 1998)
2:00pm Jan Fabre/Troubleyn – The Power of Theatrical Madness (1986, revived 2012)
Mount Olympus (2016)
3:00pm andcompany & Co. – Colonial Digital: The Empire Feeds Back! (2018)
4:00pm Rimini Protokoll – Wallenstein (2005)
Prometheus in Athens (2010)
5:00pm Gob Squad – Western Society (2013)

Evening Discussion:
6:30pm On Tragedy
Hans-Thies Lehmann

7:00pm On Writing – Conversation I
Elinor Fuchs, Jonathan Kalb & Hans-Thies Lehmann

7:20pm Theater of the Real – Conversation II
Marvin Carlson, Carol Martin & Hans-Thies Lehmann

7:40pm German Theatre and the Giessen Institut – Conversation III
Brandon Woolf, Frank Hentschker & Hans-Thies Lehmann

Special thanks to Richard Schechner and Yale University’s Department of Germanic Languages and Literatures (Katrin Trüstedt and Christian Kirchmeier).

 

Hans-Thies Lehmann is a professor emeritus for Theatre, Film, and Media Studies at the Johann Wolfgang Goethe-Universität Frankfurt am Main from 1988 until he was given emeritus status. His publications include Bertolt Brecht’s Hauspostille–Text und kollektives Lesen (1978, with Helmut Lethen); Theater und Mythos. Die Konstitution des Subjekts im Diskurs der antiken Tragödie (1991); Postdramatisches Theater (1999, now a standard work and translated into 26 languages); Heiner Müller Handbuch (ed. with Patrick Primavesi, 2003); and Tragödie und dramatisches Theater (Routledge, 2013). Hans-Thies Lehmann first studied general and comparative literary studies in Berlin and studied for his doctorate with Peter Szondi until his death. After gaining his doctorate, he was a visiting professor at the Universiteit van Amsterdam from 1979 to 1982. From 1983 to 1988, he was a university assistant at the Institute for Applied Theatre Studies in Gießen, where he substantially contributed to establishing and shaping the course of study with colleague Andzej Wirth. As a university professor for theatre studies at the J. W. Goethe-Universität Frankfurt/Main he made a remarkable contribution in devising theatre, film, and music studies courses, as well as establishing a course on dramaturgy in the framework of the Hessische Theaterakademie. In addition to guest professorships in Paris (France), Kaunas (Lithuania), Kraków (Poland), and Virginia (USA), Lehmann also works as a dramaturg for Jossi Wieler, Peter Palitzsch, Christof Nel, Theodoros Terzopoulos, Jan Fabre, and produces his own stage projects. He is on the board of the Gesellschaft für Theaterwissenschaft and a member of the Deutsche Akademie der Künste in Berlin. Hans-Thies Lehmann lives in Berlin with theatre critic Helen Varopoulou.

Start: Apr 24, 2018
End: Apr 24, 2018
Category:
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April 30

Re-Reading Oppression: One-act plays by Amiri Baraka, Harold Pinter, and Salah Abdul-Saboor

Photo by Salma S. Zohdi

 

Monday, April 30
Segal Theatre

5:30pm, 6:30pm, 7:30pm Readings + Discussion

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

With oppressive regimes regenerating themselves by applying practices commonly undertaken by dictatorships, the power of art remains an essential force that motivates the masses to resist and fight against the normalization of such abusive practices. Join us for a mini-festival that aims to analyze and track the dynamics of oppression, discrimination, and abuse when portrayed by three significant playwrights from the U.S., England, and Egypt. All readings will be followed by a brief conversation, and the event will conclude with a panel discussion and a Q&A with the directors, Marvin Carlson, and others. Discussion moderated by Frank Hentschker. Concept and dramaturgy by Salma S. Zohdi.

5:30pm LeRoi Jones/Amiri Baraka’s Dutchman (1964)
Directed by Kareem Fahmy

A powerful one-act drama, Dutchman is set on a New York subway train, the play is a searing two-character confrontation that begins playfully, but builds rapidly in suspense and symbolic resonance.

“Dutchman” is presented by special arrangement with SAMUEL FRENCH, INC.

6:30pm Harold Pinter’s One for the Road (1984)
Directed by NJ Agwuna

Considered by Frank Rich as Pinter’s “statement about the human rights abuses of totalitarian governments”. The play is set in a room, during the course of one day, where family of three–a father, mother, and a child–are interrogated and tortured.

“One for the Road” is presented by special arrangement with Dramatists Play Service, Inc., New York.

7:30pm Salah Abdul-Saboor’s Night Traveller (1969)
Directed by Robin A. Eriksen & translated by M.M. Enani.

A black comedy set in a train heading to an unknown destination with three main characters: Narrator, Passenger, and Conductor. Throughout this absurdist narrative, the Conductor manipulates the Passenger’s identity by playing mind games and exerting oppressive practices.

Roles in all three plays are performed by Jordan Bellow, Ali Nasser, and Vanessa Vaché.

Stage directions read by Mohamed El Batran.

This event is curated by dramaturg and Segal Center’s 2017/18 Next Generation Fellow Salma S. Zohdi, in collaboration with director Robin A. Eriksen.

Special thanks to Ira Dworkin, Walid El Hamamsy, M.M. Enani, and Moataza Salah Abdel Sabour.

 

About the playwrights: 

Salah Abdul-Saboor is a pioneer of modern Arabic poetry, he and other Arab poets laid the foundation of a new school of Arabic poetry. They formulated their own experience in new authentic, creative patterns. In his early youth, he tried to find a new significance beyond rhetoric eloquent expression, attending to approach other realms of arts such as music and painting. In 1957, his first collection of poems People in my Country was published, shooting the poet into fame. Abdul-Saboor’s literature was not confined to poetry, but rather extended to poetic drama. Within a period of ten years, he had five poetic plays published. The first was The Tragedy of Al-Hallaj (1965), for which he was granted the State Incentive Award for Theatre in 1966. In addition to poetry and poetic drama, the great poet also practiced critical writing. Abdel Sabour was a follower of the free art which viewed art as an expression of unbridled imaginativeness and true, vehement emotions, within a highly romantic context. He believed that genuine poetry could be written only through absolute self-communion; he remained faithful to his own principles all his life until his death on August 14, 1981.

 

Amiri Baraka (LeRoi Jones) is one of the most respected and widely published African-American writers. With the beginning of Black Civil Rights Movements during the sixties, Baraka explored the anger of African-Americans and used his writings as a weapon against racism. He is also the author of over 40 books of essays, poems, drama, and music history and criticism, a poet icon and revolutionary political activist who has recited poetry and lectured on cultural and political issues extensively in the USA, the Caribbean, Africa, and Europe. With influences on his work ranging from musical orishas such as Ornette Coleman, John Coltrane, Thelonius Monk, and Sun Ra to the Cuban Revolution, Malcolm X and world revolutionary movements, Baraka is renowned as the founder of the Black Arts Movement in Harlem in the 1960s that became, though short-lived, the virtual blueprint for a new American theater aesthetics. The movement and his published and performance work, such as the signature study on African-American music, Blues People (1963) and the play Dutchman (1963) practically seeded “the cultural corollary to black nationalism” of that revolutionary American milieu.

 

Harold Pinter was a Nobel Prize-winning British playwright, screenwriter, director and actor. Harold Pinter is generally seen as the foremost representative of British drama in the second half of the 20th century. That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: “Pinteresque”. Pinter made his playwriting debut in 1957 with The Room, presented in Bristol. Other early plays were The Birthday Party (1957), at first a fiasco of legendary dimensions but later one of his most performed plays, and The Dumb Waiter (1957). His conclusive breakthrough came with The Caretaker (1959), followed by The Homecoming (1964) and other plays. It is said of Harold Pinter that following an initial period of psychological realism he proceeded to a second, more lyrical phase with plays such as Landscape (1967) and Silence (1968) and finally to a third, political phase with One for the Road (1984), Mountain Language (1988), The New World Order(1991) and other plays. Since 1973, Pinter has won recognition as a fighter for human rights, alongside his writing. He has often taken stands seen as controversial.

 

About the creative team: 

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NJ Agwuna (Director) is a freelance theater/ film director and actor from central Maryland, currently working on her MFA at Columbia University. She has worked on a national and international scale exploring classic text, developing new plays, devising, and investigating new ways to reach audiences. Some of NJ’s credits include The River Rouge (Director),  Freedom Train (Director), The Tempest (Director), Endangered: the Eco Musical (Associate Director), Love and Information (Director), Good Man(Director), Town Hall (Director), Truth or Lie (Director), What She Found (Director), Then She Fell (ASM), Amazing Spider-Man 2, Daredevil, and Jessica Jones. More at: www.njagwuna.com

 

Photo by Matthew Dunivan

Robin A. Eriksen is a Norwegian director working both in the US and Norway. He’s a trained actor from the American Academy of Dramatic arts, has a bachelors degree in Theatre Studies from the University of Oslo, as well as an MFA in Directing from Columbia University. After years working in theatre he’s found his passion in directing for the stage; deep diving into different dramatic texts, composing living images, and communicating with actors and designers. This spring he will be working on four new plays, as well as directing and leading the design process for a new show at Dyreparken i Kristiansand, Norways largest tourist attraction.

 

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Kareem Fahmy is a Canadian-born director and playwright of Egyptian descent. He is a 2017-2018 National Directors Fellow (The O’Neill/NNPN). He has directed and co-conceived a number of world premiere productions including Sevan K. Greene’s This Time (Rising Circle, New York Times Critics’ Pick), James Scruggs’s 3/Fifths (3LD, New York Times 5 Must-See Shows), and Nikkole Salter’s Indian Head (Luna Stage). Other work: Rohina Malik’s The Mecca Tales (NY & NJ premieres), Adam Kraar’s Alternating Currents (world premiere). Kareem has developed plays with New York Theatre Workshop (where he is a Usual Suspect), MCC, Second Stage, Soho Rep, New Dramatists, The Lark, Ensemble Studio Theatre, Sundance, The Civilians, Noor Theatre, Silk Road Rising, and Berkeley Rep. He is a founder of Maia Directors, a consulting group for organizations and artists engaging with Middle Eastern stories. He is currently adapting the beloved Egyptian novel The Yacoubian Building for the stage. MFA: Columbia University. www.KareemFahmy.com

 

Photo by Annabel Guevara

Salma S. Zohdi is an Egyptian Dramaturg based in New York City. She is the 2017/2018 Next Generation Fellow at The Martin E. Segal Theatre Center. Salma is a recipient of two international fellowship awards from the American Association for University Women. When she lived in Egypt she worked as a producer, teaching artist, stage manager, playwright, dramaturg, translator, and assistant director. Credits at Columbia University include: Who’s Afraid of Virginia Woolf?The Love Song of J. Robert Oppenheimer, and Disposable Promises. New York City credits: Nathan the Wise at CSC, The Mecca Tales, an evening of “Arab Classic Plays”, and American Dreams & Arabian Nights at the BRICLab. Salma is also a collaborator on a work-in-development of a theatre adaptation of Alaa El Aswany’s acclaimed Egyptian novel The Yacoubian Building. At the Segal’s spring 2018 season, she is a co-curator and dramaturg of “Re-Reading Oppression,” an evening of a curated reading series of one-act plays that chronicle oppression, discrimination, and abuse. MA: The American University in Cairo – English & Comparative Literature. MFA: Columbia University – Theatre (Dramaturgy).

 

About the actors: 

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Jordan Bellow is a New York based actor originally hailing from California. He was most recently seen in a production of Jeremy O. Harris’ The Feels as part of the #americanAF Festival at the New Ohio Theatre. He played the title role of Macbeth and was also seen in Alkestis as part of Columbia Stages’ MFA thesis productions at the Connelly Theatre. Other Columbia credits include Balm In Gilead and Ward Six at the Schapiro Theatre. He has also performed in readings for MCC’s Youth Company at Rattlestick Playwrights Theatre and at Dixon Place. Regionally, he just closed a co-production of A Raisin In The Sun at Indiana Repertory Theatre and Syracuse Stage. Other regional credits include All The Way, A Midsummer Night’s Dream, A Christmas Carol at South Coast Repertory and Fly at Florida Studio Theatre. Television credits include Gotham, Orange Is The New Black. He received a BFA in Theatre Performance at Chapman University.

 

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Ali Nasser began his acting career in Egypt, where he played a recurring role on ‘Lahazat Harega’, the Egyptian adaptation of the hit TV show ER, and served as a voice actor for the Disney Channel in the Middle East. After studying theatre and film at the American University in Cairo, Ali helped found ACT, a non-profit theater organization that staged multiple English-speaking productions in Cairo. His theater credits include: Angels Among Us, Gasping, Guys and Dolls, Celebration, Rosencrantz and Guildenstern Are Dead. Advertising copywriter by day, Upright Citizens Brigade student and kettlebell kickboxer by night. Learn more at www.thealinasser.com

 

Photo courtesy of the artist


Vanessa Vaché
is a New York based actress originally from Prescott, Arizona. She is graduate and former company member of the American Academy of Dramatic Arts. Recent NY theatre credits include “The Way Back” (Theatre For One), “Summertime” (Columbia Stages), “Strange Country” (Access Theatre), “Utility”* (Rattlestick, *NYIT award winner Best Premier Production 2016) “Rantoul and Die” (Cherry Lane Theater), “The Bad and The Better” (Playwrights Horizons) and “HotelMotel” (Gershwin Hotel). Upcoming this summer 2018: “Solitary” produced by Dutch Kills Theatre Company.Thank you to Robin for the opportunity to be a part of such a special event!

 

 

 

 

Start: Apr 30, 2018
End: Apr 30, 2018
Venue: Segal Theatre
Category:
,

June 26

Pride Voices: New Plays from Taiwan with Li-Ying Chien and Pao-Chang Tsai

Left: Li-Ying Chien’s The Possible Memoirs of a Traitor. Photo by Chin Jung Chun.
Right: Pao-Chang Tsai’s Solo Date. Photo courtesy of the artist

Tuesday, June 26
Segal Theatre

6:30pm Readings + Discussion

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

Join us for an evening with two leading contemporary Taiwanese playwrights, Li-Ying Chien and Pao-Chang Tsai.

The evening will feature excerpted readings from The Possible Memoirs of a Traitor by Li-Ying Chien (directed by Knud Adams) and Solo Date by Pao-Chang Tsai (directed and performed by Tsai; dramaturgy by Soriya Chum). Followed by a panel discussion with the playwrights Li-Ying Chien and Pao-Chang Tsai, director Knud Adams, dramaturg Soriya Chum, James Wilson (Professor of Theatre, The Graduate Center), Yu-Yun Hsieh (Comparative Literature scholar, The Graduate Center), and Dennis Yueh-Yeh Li (Director). Moderated by Frank Hentschker.

The excerpt of The Possible Memoirs of a Traitor will be read by Alton Alburo, Jon Viktor Corpuz, Stephanie Ho, Abrielle Kuo, Kristine Haruna Lee, Jordan Rutter, and Nicholas Yenson.

Through their plays and stage works Chien and Tsai have reinvigorated the Taiwanese theatre-scape. Blending new media, real-life event, and various performative techniques, their highly political and engaged works give voice to an emerging cultural movement in Taiwan. As established queer artists, their creative processes and cultural productions also shed light on the struggles and achievements of the LGBTQ community in Taiwan and Asia today.

Based on a comprehensive field study of the LGBTQ movement, HIV/AIDS medical treatment, and family and religious issues in Taiwanese society, Li-Ying Chien’s The Possible Memoirs of a Traitor (2017) uncovers stories from a Taipei gay shelter in the 90’s. Pao-Chang Tsai’s Solo Date (2016) takes place in the 2030’s. Using traditional Taiwanese ritual and AI technology, a man reaches back in time in search of his deceased lover. But after decrypting the lover’s private data, new truths come to light.

Co-curated by Yu Chien Liu (Martin E. Segal Theatre Center) and Chi-Ping Yen (Taipei Cultural Center in New York), with support from Ministry of Culture, Taiwan and Taipei Cultural Center in New York.

 

 

Photo by Bien Dong

Li-Ying Chien is a Taiwanese playwright and director. Li-Ying received her BA degree in Theatre Arts from Chinese Culture University and majored in MFA Playwriting at Taipei National University of the Arts. Selected as one of the “Top 10 Promising Theatre Artists” by Performing Arts Review magazine in 2011, she was also named “Outstanding Theatre Artist” by the same magazine in 2012. Li-Ying was the Artist-in-Residence of The National Theater & Concert Hall in 2015.

 

 

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Pao-Chang Tsai graduated from the Department of Drama and Theatre at the National Taiwan University and received his master in music theatre from Royal Central School of Speech and Drama, University of London. He was the co-artistic director at Tainaner Ensemble from 2009 to 2018. The Common Wealth Magazine has selected Pao-Chang Tsai as the Future Young Leader in Performing arts. He also went to America Repertory Theater at Harvard University for further study in Voice and Speech sponsored by Asian Cultural Council, and visited Moscow Art Theatre for three months.

 

 

 

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Knud Adams is a director of new and experimental plays. His recent productions include Tin Cat Shoes (Trish Harnetiaux, Clubbed Thumb), Aloha, Aloha, or When I Was Queen (Eliza Bent, Abrons), The Workshop (Torrey Townsend, Soft Focus), Asshole (Justin Kuritzkes, JACK), On a Clear Day I Can See to Elba (Eliza Bent, The New Ohio), Every Angel is Brutal (Julia Jarcho, Clubbed Thumb), Tom & Eliza (Celine Song, JACK), That Poor Girl and How He Killed Her (Jen Silverman, U. of Rochester), Krazytown (Jenny Schwartz, NYU), and Snore (Max Posner, Juilliard). He is a Drama League Artist in Residence and a former Drama League Directing Fellow, Soho Rep Writer/Director Lab member, and Playwrights Horizons Directing Resident. www.knudadams.com

 

 

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Soriya K. Chum is a dramaturg and producer of talks, performances, and live events. He is currently the Manager of Humanities & Studio Programs at Theatre for a New Audience. Previously, Soriya has held roles at the Asian American Arts Alliance, the Martin E. Segal Center, Theatre Communications Group, and HERE Arts Center. MFA in Dramaturgy, Columbia University.

 

 

 

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James F. Wilson is Professor of English and Theatre at LaGuardia Community College and the Graduate Center of the City University of New York. He is a former executive director of CUNY’s Center for LGBT Studies (CLAGS), and his articles and reviews have appeared in numerous academic journals and chapter anthologies. He is co-editor of The Journal of American Drama and Theatre, published by the Martin E. Segal Theatre Center, and the author of Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance (University of Michigan Press, 2010; paperback 2011).

 

 

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Yu-Yun Hsieh is a Taiwanese writer and academic, currently a doctoral candidate in Comparative Literature at the Graduate Center, CUNY, and an adjunct lecturer in English at Hunter College. She is the recipient of the 2004 UNITAS Emerging Writers Award and the 2009 Taipei Literature Award. Her Chinese translation of Thomas Pynchon’s The Crying of Lot 49 was published in 2014.  She is also a former fiction fellow of the Writers’ Institute of CUNY. Her work has appeared in n+1Open Letters MonthlyWorld Literature TodayTimes Literary Supplement and The New York Times Book Review.

 

 

Photo courtesy of the artist

Originally from Taiwan, Dennis Yueh-Yeh Li earned his MA in Performance Studies at Tisch School of the Arts, New York University. He works as a director, playwright, and performer, having created productions addressed upon sexuality, philosophy, and politics, to give his unique perspectives on time, space, and power relations. Dennis is an Associate Artistic Director of the Living Theatre, is also a former fellowship recipient of the Institute of Target Margin Theater. His directing credits include L.ear (Dixon Place), Blind (Theater for the New City), The (New) Trial (Theater for the New City), and Civilization and Its Discontents (Judson Memorial Church). Currently, Dennis is the New York Directing Fellow of Drama League.

 

 

Start: Jun 26, 2018
End: Jun 26, 2018
Venue: Segal Theatre
Category:
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