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May 1, 2017

PEN World Voices: International Play Festival 2017: Natal’ya Vorozhbit – Take out the Rubbish, Sasha

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
6:00pm

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

Take out the Rubbish, Sasha
Written by Natal’ya Vorozhbit (Ukraine) & translated by Sasha Dugdale
Directed by Sarah Hughes
Discussion moderated by Christian Parker

In Kiev, Katya and Oksana prepare a funeral meal for their beloved husband, stepfather and Army colonel Sasha. But he isn’t going without a fight. The women in his life and the country need him.

Natal’ya Vorozhbit was born in Kiev, Ukraine and studied at the Moscow Literary Institute. Her plays Demons and Galka Motalka have been staged in Moscow and at the National Theatre of Latvia. The Khomenko Family Chronicles, a joint commission from the Royal Court Theatre, London and the BBC World Service was staged as part of the Royal Court’s International Season in 2007. In 2009 the Royal Shakespeare Company produced her play Grain Store as part of the RSC’s Revolutions project. In 2015, Take the Rubbish Out was produced by the National Theatre of Scotland and is currently nominated for the “Golden Mask” Award in Russia. At the moment Natal’ya is under commission to the Royal Court Theatre, London.

Sarah Hughes is a director and producer of theater and film. Recent: Real Talk / Kip Talk by Eliza Bent (Abrons Arts Center); some higher glimmer in our landscape of flat by Cara Scarmack (Bushwick Starr Reading Series); The Object Lesson VR Short (NYTW) and Lincoln in the Bardo VR Short (The New York Times), both with Graham Sack; Afterward by McFeely Sam Goodman (Signature Theater / Columbia); A Star Has Burnt My Eye by Howard Fishman (The Brick). With Elevator Repair Service, she assistant directed Gatz, The Select, Arguendo, Shuffle, and Fondly, Collette Richland. She’s worked with Half Straddle, MoMA, Vox Theater, and Superhero Clubhouse, of which she is a Core Member. She is the Co-Artistic Producer of Target Margin Theater, a member of the 2016-17 New Georges Jam and Civilians R&D Group, and co-teaches a class on Contemporary Theater at Dartmouth College. Upcoming: A Woman Among Women by Julia May Jonas as part of the New Georges Jam at Dixon Place, May 17.

Christian Parker is a director, dramaturg, and Chair of the graduate Theatre program at Columbia University. He was the Associate Artistic Director of the Atlantic Theater Company from 2001-2014, and served as the Literary Manager of Manhattan Theatre Club for several seasons. He is a founding member of the new itinerant theatre company, New Neighborhood, where he is developing a new show with the theatrical band The Petersons. Notable directing projects include plays by Tina Howe, Leslie Ayvazian, Jeff Whitty, Ken Weitzman, David Auburn, Cusi Cram, Rolin Jones, and Laura Eason. He is the resident director of the Kenyon Playwrights Conference, and has developed work with the O’Neill, Sundance Theatre Labs, New Harmony and Perry-Mansfield, among others. He is a Tony nominator. BA, Middlebury College. MFA, Columbia.

Learn more about The PEN World Voices: International Play Festival.

Start: May 1, 2017
End: May 1, 2017
Venue: Segal Theatre
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May 1, 2017

PEN World Voices: International Play Festival 2017: Mîrza Metîn – Hungry Dogs

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
8:00pm

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

Hungry Dogs
Written by Mîrza Metîn (Turkey) & translated by Lucy Wood
Directed by Dan Safer
Discussion moderated by Eylül Akinci

Twin brothers Beşer and Beşir, who lost their parents in war, migrated as teenagers to Istanbul. After many years of separation they meet again, when Beşer enters Beşir’s house with a stolen safety box.

Mîrza Metîn is a playwright, director and an actor. He started his theatre training at Teatra Jiyana Nû in Istanbul. From 2003-2008 he worked at Seyr-î Mesel Theatre as an actor, teacher and studied dance and music at ITU State Conservatory’s Folk Dance department. Mîrza Metîn received numerous awards for his 10 plays, which he wrote in Turkish and Kurdish. Many of his works were created and performed with Şermola Performans, a theatre company, he cofounded in Istanbul together with Berfin Zenderlioğlu in 2008. At the moment Metîn is studying at Istanbul University Theatre Criticism and Dramaturgy, where he—among other topics—researches, revives and teaches Kurdish story teller traditions like Dengbêj and Çîrokbêj.

Dan Safer is Artistic Director of Witness Relocation (www.witnessrelocation.org) and has directed or choreographed all of their shows, ranging from fully scripted plays (including world premieres by Chuck Mee and English premieres by Toshiki Okada) to original dance/theater pieces to many things in between. Based in New York City, Witness Relocation is recognized as one of the “ensembles who now lead the city’s progressive theater scene” (Village Voice), and are the recipients of three New York Innovative Theater Awards. They perform frequently in dance and theater venues in NYC and internationally. Safer’s most recent show, The Loon, a collaboration with Robert M. Johanson (Nature Theater of Oklahoma) was recently a New York Times Critics Pick.

Eylül Fidan Akinci is currently a doctoral student in the Theatre Program at the Graduate Center of the City University of New York. She completed her MA in Critical and Cultural Studies at Boğaziçi University in 2013. Her research interests include dramaturgy, contemporary dance, physical theatre, posthumanism, necropolitics, and transfeminism. She founded one of the first online video archives for dance called “Contemporary Dance Video Database,” which is now part of Ubuweb. She discusses dance and performance related topics in her monthly podcast “The Last Minute Show,” presented in the Emisiones Cacatúa series on TV-Tron. She also works as an independent dramaturg.

Learn more about The PEN World Voices: International Play Festival.

Start: May 1, 2017
End: May 1, 2017
Venue: Segal Theatre
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May 2, 2017

PEN World Voices: International Play Festival 2017

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2017. As part of the 2017 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by nine of the world’s most respected dramatists. With the writers hailing from five 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 the greater global dialogue. All readings will be followed by discussion with the playwright.

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


Monday, May 1 | Segal Theatre

4:00pm Shit
Written by Patricia Cornelius (Australia)
Directed by Katie Pearl
Discussion moderated by Peter Eckersall

6:00pm Take out the Rubbish, Sasha
Written by Natal’ya Vorozhbit (Ukraine) & translated by Sasha Dugdale
Directed by Sarah Hughes
Discussion moderated by Christian Parker

8:00pm Hungry Dogs
Written by Mîrza Metîn (Turkey) & translated by Lucy Wood
Directed by Dan Safer
Discussion moderated by Eylül Akinci


Tuesday, May 2 | Segal Theatre

4:00pm TranScenes: Four Short Plays from Brazil
Curated by Marcia Zanelatto (Brazil) & translated by Emily Walsh
Directed by Katherine Brook
Works by Marcia Zanelatto (Curator), Jô Bilac, Daniela Pereira de Carvalho, and Joaquim Vicente
Discussion moderated by Janet Werther

6:00pm Ticha-Ticha
Written by Hakim Bah (Guinea) & translated by Heather Denyer
Directed by Ethan McSweeney
Discussion moderated by Brooke Christensen

8:00pm Meteorites
Written by Sasha Marianna Salzmann (Germany) & translated by Jenny Piening
Directed by Mallory Catlett
Discussion moderated by Antje Oegel


Sunday, May 7 | Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)

4:00pm Desert of Light
Written by Rama Haydar (Syria)
Translated by Rama Haydar & Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

6:00pm Parallel Time
Written by Bashar Murkus (Palestine) & translated by Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

8:00pm Sister Mok-Rahn
Written by Eunsung Kim (South Korea) & translated by Dayoung Jeong
Directed by Seonjae Kim
Discussion moderated by Mia Chung

The PEN World Voices: International Play Festival 2017 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 2017 Festival produced by Brooke Christensen (New York) in collaboration with Frank Hentschker and Antje Oegel. Co-curated by Antje Oegel. Assistant Curator: Soriya K. Chum.

The 2017 PEN World Voices Festival of International Literature: Gender and Power takes place from May 1 through May 7, 2017. This year’s festival gathers more than 100 writers and artists brought in from all over the world together with the United States’ leading literary and cultural luminaries to address the most pressing issues of the day – freedom of expression, international conflict, immigration and displacement, genocide, mass incarceration, race, policing, and women’s quality.

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 12 years ago, PEN World Voices has presented more than 1,500 writers and artists from 110 countries, speaking 56 languages. www.penworldvoices.org

For the first time this year, the 2017 PEN World Voices Festival’s programming will reflect the vision of a diverse team of curators to explore the breadth of gender and power in all its dimensions. Chaired by Rob Spillman, founding editor of Tin House, the curatorial team includes Susan Bernofsky, Jennifer Finney Boylan, Kim Chan, Ram Devineni, Mona Eltahawy, Marlon James, Saeed Jones, Meg Lemke, Valeria Luiselli, Paul Morris, Chinelo Okparanta, Steph Opitz, Clarisse Rosaz Shariyf and Andy Tepper.
Suzanne Nossel, Executive Director of PEN America.

 

Start: May 2, 2017
End: May 7, 2017
Venue: Segal Theatre + Nuyorican Poets Cafe
Category:
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May 2, 2017

PEN World Voices: International Play Festival 2017: TranScenes: Four Short Plays from Brazil

Jô Bilac’s Venus Flytrap. Photo by Juliana Chalita

Tuesday, May 2
Segal Theatre
4:00pm

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

TranScenes: Four Short Plays from Brazil
Curated by Marcia Zanelatto (Brazil) & translated by Emily Walsh
Works by Marcia Zanelatto (Curator), Jô Bilac, Daniela Pereira de Carvalho, and JoaquimVicente.
Directed by Katherine Brook
Discussion moderated by Janet Werther

Short plays about gender identity in Brazil: a judicial fight, a dinner with a murderer, the death of the mother and a flower leads a rally.

Marcia Zanelatto lives and works in Rio de Janeiro, Brazil. She writes for theatre, television and cinema and teaches script writing. Her work often engages with ideas of racism, public security, and sexual and gender identity. She has received several awards, including the Brazil at Scene Award 2009 (Prêmio Brasil em Cena) for the play Time of Solitude (Tempo de Solidão), the Sexuality, Violence and Justice in the Favelas Award from the Ford Foundation with the play They ain´t Got No (Eles não usam tênis naique); and the 2014 Theatre Producers Association of Rio de Janeiro Award (Prêmio APTR) for Best Author, with the play Frumpness (Desalinho). In 2016, the Royal Exchange Theater, Manchester, UK, commissioned a new work for the Birth Festival, which resulted in her play The Birth Machine. Her work has been translated into English, Spanish, French and Swedish.

Jô Bilac was born in Rio de Janeiro and spent his childhood in Madrid. He co-founded the Cia de Teatro Independente (Independent Theatre Company) in 2007 with Vinicius Arneiro, Carolina Pismel, Paulo Verlings, and Julia Marini. The first two plays Cachorro! (Dog!) and Rebu (Turmoil) were performed with his company all over Brazil. Jô Bilac wrote Limpe todo Sangue Antes que Manche o Carpete (Clean All Blood Before it Stains the Carpet), Savana Glacial (Icy Savannah; Shell Award for Best Play, 2010), Popcorn and Gato Branco (White Cat). His 2013 play, Conselho de Classe (Class Council), won the Cesgranrio Award, APTR Award and the Shell Award for best play. Bilac was the artistic director of Teatro Glaucio Gil with actor Marcio Libar and was part of the dramadiario site (dailydrama web site) with six other playwrights from Rio de Janeiro.

In 2006 Daniela Pereira de Carvalho received, for her play There are no Safe Levels for the Consumption of These Substances, the Eletrobras-APTR Award for best author and was also nominated for the Shell Award for Best Text. She was also nominated for the 2006 EletrobrasAPTR Award for her piece Renato Russo: the musical. Another work, For a Less Ordinary Life, was also nominated for the Shell São Paulo Award for Best Text and for the Contigo Theater Award for Best Text in 2007.

Joaquim Vicente is a writer, director and independent producer. His career started in the film industry as an assistant producer before he moved to theatre. Of the seventeen plays he has directed, he also produced twelve of those works. On TV, he has worked as a writer for a French sex show, and for the Sunday live show Domingão do Faustão, among others. In 2012, he started his own production company, Teatro da Gente, and since then, he has also ventured into audiovisual arts. Other works by Vincente include: A Grande Viagem do Doutor Tchekhov (The Dr. Tchekcov’s Adventures) in 2004; Eu, Augusto dos Anjos (I am Augusto dos Anjos), which received the Prêmio Miryam Muniz in 2006; and Tragédias (Tragedies) in 2016.

Katherine Brook is a director of new experimental plays and performance and makes original work collaboratively with her theatre company, Katherine Brook / TELE-VIOLET. Her work has been presented at various venues in New York City and beyond, including The Public Theater’s Under the Radar Festival, The Provincetown Tennessee Williams Theatre Festival, Incubator Arts Project, Prelude NYC, and more. Recent credits include How to Get Into Buildings (New Georges), She Is King (with Laryssa Husiak, at Incubator Arts Project, and Boom Arts in Portland, Oregon), and Pink Melon Joy (Brave New World Rep and Cloud City in Brooklyn). Brook has also been a creative producer at The Foundry Theatre and New York City Players. She received her MFA from Carnegie Mellon University and her BFA from New York University’s Tisch School of the Arts, where she has since worked as a guest director.

Janet Werther (MFA Sarah Lawrence College; PhD in progress, The Graduate Center) is a scholar, practitioner, and arts educator. As an artist, Janet performs with the Ballez Company in NYC and occasionally produces solo works. Her research synthesizes dance, musical theatre, queer performance historiography, and cultural studies and her dissertation focuses on places of performance as sites of intergenerational queer exchange. Her writing is published in Studies in Musical Theatre and PAJ: A Journal of Performance and Art. She teaches at Baruch and Marymount Manhattan colleges. Janet also teaches dance to youth at the Brooklyn Arts Exchange (BAX).

Learn more about The PEN World Voices: International Play Festival.

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
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May 2, 2017

PEN World Voices: International Play Festival 2017: Hakim Bah – Ticha-Ticha

Monday, May 2
Segal Theatre
6:00pm

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

Ticha-Ticha
Written by Hakim Bah (Guinea) & translated by Heather Denyer
Directed by Ethan McSweeney
Discussion moderated by Brooke Christensen

Ticha-Ticha awaits the return of Michael, the love of her life, who is, however, drawn to her daughter, Penda. This intense and poetic play deals with love, lust, female genital mutilation, and murder.

Photo Courtesy of Alexandre Gouzou

Born in Mamou, Guinea in 1987, Hakim Bah is both a playwright and a director. His plays have been staged in Africa, Belgium, and France. He is the recipient of numerous awards, including the Radio France International’s prestigious prize for best play. His plays have been published by Lansman and in Théâtre Ouvert’s Tapuscript collection. Hakim is also the artistic director of the “Universe of Words” festival in Guinea and the Paupières Mobiles theatre company in France.

 

 

Ethan McSweeny is a Brooklyn-based director whose interpretations of new plays, musicals, operas, and revivals has taken him all over the world — most recently to Dublin, Ireland with Florian Zeller’s The Father (Gate Theatre) and to his hometown of Washington, DC with a revival of his 2014 production of The Tempest (Shakespeare Theatre Company) and to Macau, China where his production of A Midsummer Night’s Dream opened the 2016 Macau Arts Festival.  Ethan has premiered works by John Logan (Never the Sinner), Kate Fodor (100 Saints You Should Know, Rx, Fifty Ways), Jason Grote (1001), Lee Blessing (A Body of Water), Regina Taylor (The Trinity River Plays), Noah Haidle (Mr. Marmalade) Rupert Holmes (A Time to Kill), Mark Victor Olsen (Cornelia), Steven Drukman (In This Corner), Anthony Clarvoe (Ctrl+Alt+Delete), and Thomas Bradshaw (Fulfillment). From 2004-2011, he was the co-artistic director of the Chautauqua Theatre Company.

Brooke Christensen is a Ph.D. candidate of Theatre and Performance at the Graduate Centre, CUNY. Her primary research interest is theatre and performance theory considering the intersection of art objects and actors bodies working as co-performers on stage and in visual culture. She was one of the co-founders of the Chicago artist collective Lucid Street Theatre, and she worked with the Rude Mechanical Theatre Company, a commedia dell’arte troupe in Eastbourne, England. She is honored to once again be serving as the PEN World Voices International Play Festival producer.

Learn more about The PEN World Voices: International Play Festival.

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
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May 2, 2017

PEN World Voices: International Play Festival 2017: Sasha Marianna Salzmann – Meteorites

Photo by Esra Rotthoff

Tuesday, May 2
Segal Theatre
8:00pm

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

Meteorites
Written by Sasha Marianna Salzmann (Germany) & translated by Jenny Piening
Directed by Mallory Catlett
Discussion moderated by Antje Oegel

Germany is in the World Cup final; Berlin is dreaming again of a summer fairy tale to forget the world torn by wars. Inspired by Ovid’s Metamorphoses, Salzmann sends her protagonists on a seemingly endless search for a new self, which denies traditional concepts of identity.

Courtesy of Stefan Loeber

Sasha Marianna Salzmann is a playwright, essayist, curator, dramaturg and writer in residence at the Maxim Gorki Theater, Berlin. She is the co-founder of the magazine freitext and was the artistic director of STUDIO Я, which was named “best experimental work of the year” by DIE WELT newspaper in 2014. She also co-founded NIDS – New Institute for Drama, where she teaches and gives workshops on political writing. Her award-winning work has been translated and produced in over 20 countries. In 2016-17 she was voted “The playwright of the year” by the theatre magazine Deutsche Bühne. Salzmann´s first novel, Außer sich, will be published in September 2017.

Mallory Catlett is an Obie award-winning creator and director of performance across disciplines from Opera and Music Theater to Installation. She is the Artistic Director of Restless, a company designed to excavate the literary and theatrical cannon in creation of contemporary performance. The current project, M/F Future, is a pair of performances based on the novels of William Burroughs and Doris Lessing. In NYC her work has premiered at 3LD, HERE, Ontological-Hysteric, PS122, Abrons, Chocolate Factory, Roulette & the Collapsable Hole; featured at the Ice Factory, COIL, Prelude, Prototype and BAM’s Next Wave; and been developed at MTA, Barishnykov Arts, McDowell, Performing Garage, Abrons, HERE, Mabou Mines, LMCC and Yaddo; and toured internationally to Canada, France, UK, Ireland & Australia. She is a 2015 Foundation for the Contemporary Arts Grantee, a 2016 Creative Capital Awardee and an Assistant Professor of Theater Arts at Stonybrook University.

Learn more about The PEN World Voices: International Play Festival.

 

Start: May 2, 2017
End: May 2, 2017
Venue: Segal Theatre
Category:
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May 7, 2017

PEN World Voices: International Play Festival 2017: Rama Haydar – Desert of Light

Photo courtesy of the Artist

Sunday, May 7
Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)
4:00pm

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

Desert of Light
Written by Rama Haydar (Syria)
Translated by Rama Haydar & Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

As the brutal siege rages outside, two Palestinian refugees debate the best plan of escape. Set outside Damascus in the Yarmouk refugee camp, this black tragicomedy reveals the catastrophic absurdity of the Syrian civil war.

Rama Haydar is a Palestinian writer from Syria. She has written scripts for theatre, film, television, and radio. She studied English literature at the University of Damascus in Syria as well as theatre studies and criticism at the Damascus High Institute of Dramatic Arts. Her play Exile, (grant recipient, A. M. Qattan Foundation) focuses on the Palestinian refugees in Yarmouk, the main Palestinian camp in Damascus. Her short film Leaving Home, is a narrative documentary of her experience leaving Syria and relocating to Lebanon. She has also written over sixty episodes for the popular Lebanese television series Life School. Haydar resides in Spain where she has written several pieces for the site-specific micro theatre troupe HEXAGONO.

Rebekah Maggor is an artist and scholar whose work focuses on political theatre and theatre of protest. She translates, directs, devises, and researches theatre that questions entrenched power structures and pushes the boundaries of our contemporary political conversation. She co-edited, co-translated and wrote the introduction to Tahrir Tales: Plays from the Egyptian Revolution (Seagull Books) and she is currently co-editing, with Marvin Carlson and Mas’ud Hamdan, an anthology of new Palestinian drama, Theatre Between Home and Exile: New Palestinian Voices. Maggor has directed performances of her translations at the Huntington Theatre Company, the Segal Theatre Center, the ReOrient Festival, and at Harvard, Vanderbilt, and Cornell.  She has received grants from the Fulbright Scholar Program, the NEA, the Doris Duke Foundation, TCG Global Connections, the Radcliffe Institute, the Einaudi Center, and others. She is assistant professor in the Department of Performing and Media Arts at Cornell University.

Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center. He has received an honorary doctorate from the University of Athens, the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, and the Calloway Prize. He is the founding editor of the journals European Stages and Arab Stages; and the author of over two hundred and fifty scholarly articles in the areas of theatre history, theatre theory and dramatic literature. He is the director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy. Among his books are The Theatre of the French Revolution (1966), Goethe and the Weimar Theatre (1978), Theories of the Theatre (1984), Places of Performance (1989), Performance: A Critical Introduction (1996), The Haunted Stage (2001), Speaking in Tongues (2006), Theatre is More Beautiful than War (2009), The Theatres of Morocco, Algeria, and Tunisia (with Khalid Amine, 2012) and Hamlet’s Shattered Mirror (2016). His work has been translated into fifteen languages.

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

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
Category:
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May 7, 2017

PEN World Voices: International Play Festival 2017: Bashar Murkus – Parallel Time

Photo courtesy of the Artist

Sunday, May 7
Nuyorican Poets Cafe
(236 E 3rd Street, Second Avenue/F Train)
6:00pm

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

Parallel Time
Written by Bashar Murkus (Palestine) & translated by Rebekah Maggor
Directed by Rebekah Maggor
Discussion moderated by Frank Hentschker, Marvin Carlson

Parallel Time, a disturbingly humorous prison play, evokes the daily struggle of life behind bars for a group of Palestinian inmates. It follows their collective fight to overcome the despair of long-term incarceration.

Bashar Murkus is a Palestinian playwright and director and founding ensemble member of the Khashabi Theatre in Haifa. Through collective research he develops new plays that both reflect and engage with the regional Palestinian community. His work has been seen in Palestine, France, Belgium, Tunisia, Lebanon, and Morocco. As writer/director, his plays include Parallel Time, The Belli Belli Bel, Whips, Sitt Bel Uffeh and The Year of Snow. Recent productions as director include: Bye Bye Gillo by Taha Adnan, The Conference of the Birds by Farid ud-Din Attar, and A New Middle East by Motaz Abu Saleh. Murkus studied theatre at the University of Haifa, where he now teaches acting and directing.

Rebekah Maggor is an artist and scholar whose work focuses on political theatre and theatre of protest. She translates, directs, devises, and researches theatre that questions entrenched power structures and pushes the boundaries of our contemporary political conversation. She co-edited, co-translated and wrote the introduction to Tahrir Tales: Plays from the Egyptian Revolution (Seagull Books) and she is currently co-editing, with Marvin Carlson and Mas’ud Hamdan, an anthology of new Palestinian drama, Theatre Between Home and Exile: New Palestinian Voices. Maggor has directed performances of her translations at the Huntington Theatre Company, the Segal Theatre Center, the ReOrient Festival, and at Harvard, Vanderbilt, and Cornell.  She has received grants from the Fulbright Scholar Program, the NEA, the Doris Duke Foundation, TCG Global Connections, the Radcliffe Institute, the Einaudi Center, and others. She is assistant professor in the Department of Performing and Media Arts at Cornell University.

Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center. He has received an honorary doctorate from the University of Athens, the ATHE Career Achievement Award, the ASTR Distinguished Scholarship Award, the George Jean Nathan Award for Dramatic Criticism, and the Calloway Prize. He is the founding editor of the journals European Stages and Arab Stages; and the author of over two hundred and fifty scholarly articles in the areas of theatre history, theatre theory and dramatic literature. He is the director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy. Among his books are The Theatre of the French Revolution (1966), Goethe and the Weimar Theatre (1978), Theories of the Theatre (1984), Places of Performance (1989), Performance: A Critical Introduction (1996), The Haunted Stage (2001), Speaking in Tongues (2006), Theatre is More Beautiful than War (2009), The Theatres of Morocco, Algeria, and Tunisia (with Khalid Amine, 2012) and Hamlet’s Shattered Mirror (2016). His work has been translated into fifteen languages.

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

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
Category:
, ,

May 7, 2017

PEN World Voices: International Play Festival 2017: Eunsung Kim – Sister Mok-Rahn

Photo © Doosan Art Center

Sunday, May 7
Nuyorican Poets Cafe 
(236 E 3rd Street, Second Avenue/F Train)
8:00pm

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

Sister Mok-Rahn
Written by Eunsung Kim (South Korea) & translated by Dayoung Jeong
Directed by Seonjae Kim
Discussion moderated by Mia Chung

Desperate to reunite with her parents, a North Korean defector decides to return to her nation’s capital, Pyongyang. All she needs is 50 million won. Thus she is forced to navigate South Korean capitalism.

Eunsung Kim is a South Korean playwright and the Director of Dalnara Dongbakkot Company. He was born in Bosung in 1977 and lives in Seoul. He received his BFA in Directing at the Korea National University of Arts. His debut play, Shidong Rahsah, was awarded with the Korea Times Award for Best Play in 2006. Kim is the recipient of multiple awards including Daesan Creative Writing Funds, Dong-A Theater Award for Best Play, Doosan Artist Award, and Cha Bumseok Play Award. His major works include Sunshine Warriors, Sister Mok-rahn, Mother Yonbian, Hamik, Uncle Soonwoo, Lunar Soap Opera, Tideland (Bbul), and Bbang Bbang Bbang.

Seonjae Kim is a director based in New York City, originally from Seoul, South Korea. Riot Antigone, her Riot Grrrl musical adaptation of Sophocles’ tragedy, premiered at La MaMa Experimental Theatre Club in February 2017. Other credits: The Essential Ella Maythorne (Dixon Place) You’re Amazing!!!, That Noise (Williamstown Theatre Festival) A Midsummer Night’s Dream (Rabid Bat Theatricals) Cloud 9, A Perfect Wedding, Kafka on the Shore (Northwestern), Moksori (Chicago Fringe). Kim has worked with renowned directors such as Bill Rauch, Stafford Arima and most recently Pam MacKinnon on the new Broadway musical Amélie. Alumna of Directors’ Lab West, SITI Company Summer Workshop, Powerhouse Training Program, Williamstown Directing Corps, La MaMa Umbria Directors’ Symposium, Playwrights’ Retreat and Next Generation Residency. 2016 Van Lier Fellowship for Directing from the Asian American Arts Alliance & 2016 Mike Ockrent Fellowship from the Stage Directors and Choreographers Foundation. Upcoming: Associate Director, KPOP (Ars Nova/Ma-Yi/Woodshed Collective)

Mia Chung is the author of You For Me For You, Catch As Catch Can, and This Exquisite Corpse. You For Me For You had a UK premiere at The Royal Court Theatre, a world premiere at Woolly Mammoth Theatre, and multiple productions around the country; the play is published by Bloomsbury Methuen Drama. In addition to the 2016 Stavis Playwright Award, Mia has received much support: BAPF, Berkeley Rep, Blue Mountain Center, The Civilians, Hedgebrook, Huntington Theatre, Icicle Creek, Inkwell, LAByrinth, Ma-Yi Writers Lab, NEA, NYTW, Playwrights Realm, RISCA, South Coast Rep, Southern Rep, Stella Adler Studio, and TCG. She is a New Dramatist and a Jerome Fellow.

Learn more about The PEN World Voices: International Play Festival.

Start: May 7, 2017
End: May 7, 2017
Venue: Nuyorican Poets Cafe
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May 10, 2017

Andrzej Wirth: A Century in the Landscape of Theatre

Photo by Antonio M. Storch, 2017, Berlin

Wednesday, May 10
Segal Theatre
6:30pm Conversation
+ 4:00pm Screening of Theatre Without Audience
by Pawel Kocambasi, 2014, Poland
www.knudsenstreuber.com

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

Join us for an evening with Andrzej Wirth, the legendary philosopher of theatre and founder of the ‘Applied Theater Studies’ in Giessen (Germany) in conversation with his former student Frank Hentschker. We will be celebrating Wirth’s interview biography, Flucht Nach Vorn (Fleeing Forward) by theatre critic Thomas Irmer, published in Germany by Spector Verlag, Leipzig (Polish translation in 2016 by Theater Institute, Warsaw). In the afternoon The Segal Center will screen the 2014 biographical documentary film on Wirth entitled Theatre Without Audience by Pawel Kocambasi, focusing on Wirth’s life and his experiments with Brecht’s play fragments of Downfall of the Egotist Johann Fatzer.

Andrzej Wirth, as a literary and theatre critic as well as an editor in Warsaw, wrote on Witkiewicz, Grotowski, Mrozek and Kantor. He was an assistant at Brecht’s Berliner Ensemble and associated with the literary Gruppe 47. A mediator between Polish and German culture during a vital period, Wirth translated works by German writers Kafka, Dürrenmatt, and Brecht into Polish and edited works by Bruno Schulz, Tadeusz Borowski, and modern Polish dramatists. Following a political emigration to the USA in 1966, Wirth taught drama and comparative literature at Stanford University, moving to the City University of New York in 1970. Additionally, he directed plays at campus theatres. In the 1970s, Wirth was instrumental in introducing Gertrude Stein, Robert Wilson and American Avant-garde Theatre into German critical discourse. A former student of praxiology (the theory of praxis) at the Warsaw School of Analytical Philosophy, he was looking for its application in theatre studies. In 1982, he founded the first German Institute for Applied Theatre Theory (Angewandte Theaterwissenschaft) at the Justus Liebig University Gießen, garnering a national and international reputation for that program and inviting internationally reputed guests such as Heiner Müller, George Tabori, Michael Kirby, Robert Wilson, Richard Schechner, John Jesurun and Emma Lew Thomas. As a visiting professor, Wirth taught and directed at Harvard University, Yale School of Drama, Oxford University, St Antony’s College, and the Freie Universität, Berlin. He has conducted international theatre workshops in Sydney, Australia, and under the hospices of the Teatro de la Righe in Volterra, Italy, as well as at Oxford University. With Thomas Martius, he made films on Venice and Las Vegas and on Robert Wilson’s Watermill Center. A biographical documentary film on Wirth entitled Theatre Without Audience by Pawel Kocambasi premiered in 2014. The same year an interview biography, Flucht Nach Vorn (Fleeing Forward) by theatre critic Thomas Irmer was published in Germany (Spector Verlag, Leipzig; followed by a Polish translation in 2016(Theater Institute, Warsaw).

Start: May 10, 2017
End: May 10, 2017
Venue: Segal Theatre
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May 18, 2017

Dramaturgy in the Making with Katalin Trencsényi, Peter Eckersall, Bertie Ferdman

Photo credit: DESH, Akram Khan Company, photographer: Richard Haughton

Thursday, May 18
Segal Theatre
6:30pm Book Talk
+ 2:00pm Screenings

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

Join us in celebrating the new publication Dramaturgy in the Making: A User’s Guide for Theatre Practitioners by Katalin Trencsényi, published by Bloomsbury Methuen Drama in 2015. Trencsényi’s research maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice—institutional dramaturgy, production dramaturgy and dance dramaturgy—with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own “dramaturgical toolbox.” The book provides a detailed and precise insight into the dramaturgical processes at organizations such as the Akram Khan Company, les ballets C de la B (Ghent), the National Theatre and the Royal Court (London), the Schaubühne (Berlin) and The Sundance Institute Theatre Lab (Utah), among others.

Screening Schedule:
2:00pm One Day Pina Asked by Chantal Akerman (1983) 57 min
3:00pm Dancing Dreams by Anne Linsel and Rainer Hoffman (2010) 89 min
4:30pm VSPRS Show and Tell by Sophie Fiennes (2007) 72 min

 

 

Photo by Lilla Khoór

Katalin Trencsényi is a London-based dramaturg, researcher and associate lecturer at the Royal Academy of Dramatic Art (RADA). Katalin is co-founder of the Dramaturgs’ Network (d’n) and is a member of the d’n Advisory Board. Katalin is the co-editor of New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury Methuen Drama, 2014), and editor of Bandoneon: Working with Pina Bausch (Oberon Books, 2016).

 

Photo courtesy of the artist

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

 

Photo by Julien Jourdes

Bertie Ferdman is Assistant Professor at BMCC at the City University of New York, where she teaches theater studies courses and public speaking. Her essays have appeared in TDR, PAJ, Theatre Journal, Theatre Survey, and Performance Research. Her book, Off Sites: Contemporary Performance beyond Site-Specific, is forthcoming from SIU Press- its Theater of the Americas Series. She was co-editor of a Special Issue of Yale’s Theater Magazine on Performance Curating. Her essay from that collection is upcoming in an anthology titled Curating Live Arts: Global Perspectives, Envisioning Theory and Practice in Performance. Bertie is a graduate of Yale University, has a Masters in Performance Studies from NYU Tisch School of the Arts, and earned her PhD from The Graduate Center, CUNY.

 

Start: May 18, 2017
End: May 18, 2017
Venue: Segal Theatre
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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.

 

Photo courtesy of the artist

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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