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June 15, 2009

Book Party: Czech Plays: Seven New Works Co-edited by Marcy Arlin, Gwynn MacDonald, and Dr. Daniel Gerould

Please join us as we celebrate the publication of CZECH PLAYS: SEVEN NEW WORKS, the first English-language anthology of Czech plays written after the 1989 Velvet Revolution.

Start: Jun 15, 2009
End: Jun 15, 2009
Venue: Segal Theater
Cost: Free
Category:
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August 10, 2009

Beyond Bollywood and Broadway: Plays from the South Asian Diaspora

For two days in August, join us we host a launch and series of readings celebrating Beyond Bollywood and Broadway: Plays from the South Asian Diaspora, a collection of South Asian diasporic plays. Edited by Neilesh Bose, this book includes eleven plays from the United States, the United Kingdom, South Africa, and Canada, the four main English-speaking regions of the diaspora.

Start: Aug 10, 2009
End: Aug 11, 2009
Venue: Segal Theater
Cost: Free
Category:
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November 16, 2009

Book Presentation: Playwrights Before the Fall

The Martin E. Segal Theatre Center’s Publication Wing presents its latest book project: Playwrights Before the Fall: Eastern European Drama in Times of Revolution. The anthology, edited by Daniel Gerould with a preface by Dragan Klaić, is the first multi-author international anthology of Eastern European plays to appear in English.

Start: Nov 16, 2009
End: Nov 16, 2009
Venue: Segal Theater
Cost: Free
Category:
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March 15, 2010

WritingPlays/Notating Performance: PLAY a Journal of Plays

Join maverick theatre publishers Sally Oswald and Jordan Harrison and affiliated artists for an evening on the cutting edge of playwriting and performance notation. Featuring appearances by playwrights whose work traverses the spectrum of theatrical form and format.

Start: Mar 15, 2010
End: Mar 15, 2010
Venue: Segal Theater
Cost: Free
Category:
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May 18, 2010

David Savran: Highbrow/Lowdown: Theatre, Jazz and the Making of the New Middle Class

The arrival of jazz in the 1920s sparked a cultural revolution that was impossible to contain. Join author David Savran (Distinguished Professor of Theatre and Vera Mowry Roberts Chair in American Theatre at the CUNY Graduate Center), John Graziano (Professor Emeritus of Music at The Graduate Center and City College) and Kevin Byrne (Doctoral Candidate in Theatre, CUNY Graduate Center) as they discuss Dr. Savran’s new book, which argues that jazz was not only the first distinctively American art form, but also a powerful force that altered America’s social and cultural landscape.

Start: May 18, 2010
End: May 18, 2010
Venue: Segal Theater
Cost: Free
Category:
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October 25, 2010

Condition: Critical (David Cote, Time Out New York)

Theater editor and drama critic David Cote invites you to gather and eulogize a dying profession: theater criticism. Perhaps that’s overly dramatic and premature, but there’s no denying that blogs, Twitter and shrinking media budgets are taking a toll on this once-honored vocation.

Start: Oct 25, 2010
End: Oct 25, 2010
Venue: Segal Theater
Cost: Free
Category:
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March 14, 2011

Celebrating Daniel Gerould’s Quick Change: Theatre Essays and Translations. Foreword by Richard Schechner

Join us in a celebration of the publication of Quick Change, a volume of previously uncollected writings from over five decades by Daniel Gerould, Lucille Lortel Distinguished Professor of Theatre and Comparative Literature at the CUNY Graduate Center.

Start: Mar 14, 2011
End: Mar 14, 2011
Venue: Segal Theater
Cost: Free
Category:
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November 30, 2011

Publishing Performance in the 21st Century: Ugly Duckling Presse

Ugly Duckling Presse, a Brooklyn-based nonprofit publisher run by a volunteer collective and the home of the “Emergency” series (the former Emergency Gazette; Emergency Playscripts; and Emergency INDEX), brings together this performance-infused forum addressing issues in performance criticism, documentation, and the relationship of writing and performance.

Start: Nov 30, 2011
End: Nov 30, 2011
Venue: Segal Theater
Cost: Free
Category:
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December 8, 2011

Say Word: Voices from Hip Hop Theater

Join us for an evening celebrating Hip Hop Theatre, featuring performance, video, and conversation with the playwrights from and the editor of the first critical anthology of Hip Hop Theatre, Say Word! (University of Michigan Press, 2011).

Start: Dec 8, 2011
End: Dec 8, 2011
Venue: Segal Theater
Cost: Free
Category:
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April 23, 2014

Modern Japanese Drama: Cody Poulton in conversation with Peter Eckersall

Wednesday, April 23 at 6:30pm. Cody Poulton in conversation with Peter Eckersall about the newly published Columbia Anthology of Modern Japanese Drama.

Start: Apr 23, 2014
End: Apr 23, 2014
Venue: Segal Theatre
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December 1, 2014

Puppetry and Material Performance

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Monday, December 1
10:00am Screenings
6:30pm Evening Program

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

The Segal Center is pleased to celebrate the publication of The Routledge Companion to Puppetry and Material Performance (Routledge, 2014), edited by Dassia N. Posner, Claudia Orenstein, and John Bell, with a full day of curated screenings followed by excerpted performances and a panel discussion featuring John Bell (Director of the Ballard Institute and Museum of Puppetry at the University of Connecticut) and Claudia Orenstein (Associate Professor at Hunter College and The Graduate Center, CUNY).

Join us for screenings highlighting the depth and breadth of contemporary puppetry in the US and abroad. The screenings will take place from 10:00am to 1:00pm and 2:00pm to 5:00pm.

Screenings curated by Tim Cusack (Artistic Director, Theatre Askew) include:

 

10:00AM – 1:00PM
REVITALIZING AND PRESERVING TRADITIONS

Adventures of Fatima (1990)
Uzbek National Puppet Theater – 18 min

Aragoz (1989)
Unnamed Egyptian puppeteers – 16 min 30 sec

Giri Harja (Date unknown, first performed in 1984)
Asep Sunandar Sunarya (Indonesian wayang golek) – 16 min 30 sec

Cheko segment from Change and Continuity in the Art of Mali (1989)
Documentary by the National Museum of African Art,
Smithsonian Institution – 11 min

Un Avventura d’Orlando Furioso (1980)
Manteo Family Sicilian Marionette Theater (New York) – 2 min 30 sec

The Lover’s Exile (1980)
Bunraku Theatre of Japan – 25 min 30 sec

Magic in Our Hands (2014)
Padmini Rangarajan (India)
Documentary directed by Vicky Hart – 50 min

The Wonder of Diamond (2009)
Eko Nugroho, with Matthew Cohen (Indonesian wayang bocor) – 3 min

Vertep (Date unknown, first performed in 1989)
Vagabond Booth (Alexander Gref and Elena Slonimskaya/Russia) – 15 min

 


2:00PM – 2:30PM
AMERICAN INTERVENTIONS IN EUROPEAN “CLASSICS”

Firebird (1982)
Underground Railway Theater (Cambridge, MA) – 5 min 30 sec

Hunchback (2000)
Red Moon Theater (Chicago) – 13 min 30 sec

Jabberwocky (1986)
Tears of Joy Theatre (Portland, OR) – 8 min

 

2:30PM – 3:10PM
PUPPETS ARE POLITICAL

Bumbledown: The Life & Times of Ronald Reagan (1989)
Spitting Image (U.K.) – 12 min 30 sec

Domestic Resurrection Circus (1985)
Bread and Puppet Theater (Glover, VT) – 10 min 30 sec

Toy Theater of Terror as Usual, Episode 9: Doom (1998)
Great Small Works
(John Bell, Trudi Cohen, Jenny Romaine & Mark Sussman/New York) – 20 min

 

3:10PM – 5:00PM
CONTEMPORARY MASTERS

Various Works (1985)
Compagnie Philippe Gentey (France) – 14 minutes

Lion King (1998)
Julie Taymor (performance at the 52nd annual Tony Awards/New York) – 4 min 30 sec

Hermann (1989)
Theater Im Wind (Enno and Anne Podehl/Germany) – 4 min 45 sec

Fugitive Time (2014)
Janie Geiser (Los Angeles) – 7 min 30 sec

Ubu and the Truth Commission (1997)
Handspring Puppet Company – 90 min

 

 

 

 

Photo courtesy of the artist

Start: Dec 1, 2014
End: Dec 1, 2014
Venue: Segal Theater
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December 8, 2014

Towards an Arab American Theatre: Readings, Panels, and Book Celebration

Monday, December 8 at 6:30pm. Towards an Arab American Theatre: Readings, Panels, and Book Celebration

Start: Dec 8, 2014
End: Dec 8, 2014
Venue: Segal Theater
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April 28, 2015

Book Celebration Four Millennial Plays from Belgium

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Book Cover: Image by Yau Hoong Tang

Tuesday, April 28
Segal Theatre
7:30pm Reading

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

Join us as we celebrate The Segal Center’s newest publication, Four Millennial Plays from Belgium. The evening will feature readings from the plays and a panel discussion with Belgian playwrights Serge Goriely, Pascal Vrebos, and editor/translator and specialist in Belgian theatre, David Willinger (Professor of Theatre at City College and the CUNY Graduate Center’s Ph.D. Program), moderated by Frank Hentschker.

This anthology captures tendencies of contemporary European playwriting in the beginning of the new millennium — focusing on race, inter-continental marriage, the privileges allowed society’s leaders, the resurgence of the Extreme Right, and creative ways of juggling love relationships — presented in a variety of accessible styles.

Willinger and others will direct four exemplary scenes from the anthology.

 

Start: Apr 28, 2015
End: Apr 28, 2015
Venue: Segal Theater
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October 26, 2015

Theatre Communications Group: Publishing for the Theatre

Culture-is-the-Body_Event-Banner

Photo: cover and text from Tadashi Suzuki’s Culture is the Body

Monday, October 26
Segal Theatre
6:30pm Discussion

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

Join us for an evening celebrating the work of Theatre Communication Group’s publishing wing with the publisher Terry Nemeth, Robert Weinert-Kendt (new editor of American Theatre magazine), and Kameron Steele (editor and translator of Tadashi Suzuki’s Culture Is the Body). Nemeth will highlight TCG’s unique contributions to the American landscape of theatre and introduce Weinert-Kendt who will outline his vision for American Theatre magazine. The evening will also feature a discussion of Culture is the Body, the writings of legendary theatre director Tadashi Suzuki, who created a video for the Segal evening.

Terry Nemeth has led TCG’s publishing programs since 1982. He helped launch American Theatre magazine, the only national magazine on theatre in the U.S., in 1984 and oversaw the expansion of the book program. Today’ TCG Books is the largest independent publisher of dramatic literature in North America and home to fourteen Pulitzer Prize-winning plays. Before joining TCG, he spent 14 years in the San Francisco Bay Area, where he co-founded Mudra, a literary publishing house, and was one of the original employee-owners of Bookpeople, which was the most prominent distributor for independent publishers in the country where he also directed its book imprint, Wingbow Press. He was awarded an Obie in 2004 for play publishing.

Kameron Steele was born in Duluth, Minnesota, raised in Baltimore, Maryland.  After receiving his BFA in Performance Studies from Northwestern University in 1991, Steele joined Tadashi Suzuki’s SCOT company in Toga, Japan, where he has since worked as an actor, translator, teacher and assistant director, appearing in King LearIvanov, Dionysus and Greetings from the Edge of the Earth, among others. From 1998–2008 Steele also worked extensively at Robert Wilson’s Watermill Center, appearing in Wilson’s touring productions of Persephone, The Days Before, Woyzeck and the title role in Prometheus. A graduate of the CalArts MFA directing program, Steele has presented works in New York City at HERE, P.S.122, PRELUDE, LMCC and the Public Theater, as well as on tour in Argentina, Mexico, Belgium and Spain. In addition to Suzuki’s writing, he has translated and/or adapted works by Yukio Mishima, Shuji Terayama, Kobo Abe, Masataka Matsuda and Mikuni Yanaihara, as well as the English subtitles for Kazuhiro Soda’s landmark documentary films Senkyo (Election) and Engeki (Theatre). Since 2011 he has led the Suzuki Method of Actor Training Summer Program in Toga along with Italian director Mattia Sebastian, and currently teaches at Williams College in Williamstown, Massachusetts.

Tadashi Suzuki is the founder and director of the Suzuki Company of Toga (SCOT), the organizer of Japan’s first international theater festival (Toga Festival), and the creator of the Suzuki Method of Actor Training. Suzuki has articulated his theories in a number of books. He has taught his system of actor training in schools and theaters throughout the world. Besides productions with his own company, he has directed several international collaborations.

Rob Weinert-Kendt is editor-in-chief of American Theatre. He was the founding editor-in-chief of Back Stage West and writes about theatre for the New York Times, Time Out NY, and the Los Angeles Times. He studied film at USC and is a composer member of the BMI Lehman Engel Musical Theater Workshop.

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Start: Oct 26, 2015
End: Oct 26, 2015
Venue: Segal Theatre
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November 23, 2015

What the Eye Hears: A History of Tap Dancing

Dancing for Eels (1848)_courtesy of the Library of Congress

Photo: © Dancing for Eels (1848). Courtesy of the Library of Congress.


THE 2015 DANIEL GEROULD MEMORIAL LECTURE
Monday, November 23

Segal Theatre
6:30pm Performance + Discussion

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

Join us in celebrating New York Times dance critic Brian Seibert’s What the Eye Hears: A History of Tap Dancing, a new book on the history of tap dance, which illuminates tap’s complex origins and theatricalization. Seibert charts tap dancing’s growth in the vaudeville circuits and nightclubs of the early twentieth century, chronicles its spread to ubiquity on Broadway and in Hollywood, analyzes its post-World War II decline, and celebrates its reinvention by new generations of American and international performers. What the Eye Hears is a central account of American popular culture, as well as the pain and pride surrounding the complicated legacy of African Americans in show business.

Brian Seibert will speak about the challenges of writing tap history, screen clips from his film collection and introduce a performance by Ayodele Casel, one of New York’s top tap dancers. In 2010, Seibert presented a two-day event, The World of Tap Dance, at the Segal Center.

 

IMG_8052 Seibert_Brian, © 2015 Nancy Crampton (1)Brian Seibert writes for The New York Times and The New Yorker. His reviews, features, and essays have appeared in The Village Voice, The Los Angeles Times, Slate, Dance Magazine, and The Threepenny Review, among other publications. His history of tap dancing, What the Eye Hears, will be published by Farrar, Straus, and Giroux in November, 2015.

 

ayodele casel headshot

Ayodele Casel is a native Nuyorican New Yorker and has worked professionally as an actor and tap dancer for nearly two decades. She began her professional training at New York University’s Tisch School of the Arts and is also a graduate of The William Esper Studio in NYC, having studied directly with the masterful William Esper. Ms. Casel’s television and film credits include “Third Watch”, “Law and Order”, “The Jamie Foxx Show”, “Bojangles”, “Savion Glover’s Nu York”. Ayodele currently serves on the Artist Board for New York City Center’s Encores! under the artistic direction of Tony Award winner Jeanine Tesori. www.ayodelecasel.com

 

 

Start: Nov 23, 2015
End: Nov 23, 2015
Venue: Segal Theatre
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January 11, 2016

The Lincoln Center Theater Review

Scott Irvine (War Horse) and Omnivore (The King and I) 300dpi

Photos by Scott Irvine (War Horse) and Omnivore (The King and I)


Monday, January 11
Segal Theatre

6:30pm Discussion

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

Join us for an evening in celebration of the Lincoln Center Theater Review, a literary and art journal that accompanies the productions at Lincoln Center Theater. Founded in 1987 by John Guare, the magazine solicits responses to the themes and issues in the plays from visual artists and noted writers of fiction, poetry and commentary, in the belief that theater plays a part in the intellectual discourse of our time. The Review’s past contributors have included authors Nadine Gordimer, Arthur Miller, Vaclav Havel, Athol Fugard, Sigrid Nunez, Peter Brook, Arthur Schlesinger, Jr., Cynthia Ozick, Barbara Gelb, Oscar Hijuelos, Jane Smiley, Colm Toibin, Charles Johnson, James Salter, Robertson Davies, Pete Hammill, Mary Gordon, Margaret Atwood, Philip Levine, Philip Howard, Samuel Beckett, and Christopher Buckley, as well as countless playwrights, actors, and designers from LCT’s productions. The Review’s literary content is enhanced with the work of a distinguished roster of visual artists, including Kiki Smith, Gregory Crewdson, Cindy Sherman, Keith Carter, Ed Ruscha, William Kentridge, Yinka Shonibare, and David Salle.

Published three times each season, the Review has a typical print-run of 10,000 copies of each issue. As many as 250,000 copies were printed for the productions of South Pacific and War Horse in their extended runs, as well as LCT’s current Tony Award winning production of The King and I. The magazine also has a mailing list of subscribers and is distributed to libraries and national theater and book critics. It is available to audience members in in the LCT lobbies and is available, for free, online on the Theater’s website www.lct.org/explore/magazine.

Founder and Co-Executive Editor John Guare will be joined by LCT Dramaturg and Co-Executive Editor Anne Cattaneo, Editor Alexis Gargagliano, Art Director Tamar Cohen, and Picture Editor David Leopold. Moderated by Frank Hentschker. A slideshow presentation will showcase highlights from past issues and the editorial team, which has worked together for almost two decades, will discuss their challenges and successes, as well as the mission of the Review. Complimentary issues will be distributed.

 

 

John Guare by Paul Kolnik

Photo by Paul Kolnik

John Guare’s plays and films include A Free Man of Color (Pulitzer Prize finalist), Lydie Breeze, Landscape of the BodyThe House of Blue Leaves (NY Drama Critics Circle Award); Six Degrees of Separation (NY Drama Critics Circle Award; London’s Olivier Award Best play) Atlantic City (Oscar nomination); Two Gentlemen of Verona (Tony Award).  PEN Master Dramatist Award; Gold Medal in Drama: American Academy of Arts and Letters; Obie Sustained Excellence. Council member Dramatists Guild; Founder and Co-Executive Editor of the Lincoln Center Theater Review

 

Anne Cattaneo by Sara Krulwich

Photo by Sara Krulwich

Anne Cattaneo is the dramaturg of Lincoln Center Theater and the creator of the Lincoln Center Theater Directors Lab.  A three term past president of Literary Mangers and Dramaturgs of the Americas, she is the recipient of LMDA’s first Lessing Award for lifetime achievement of dramaturgy. In 2011, she was awarded the Margo Jones Medal given annually to a “citizen of the theater who has demonstrated a significant impact, understanding and affirmation of the craft of playwriting, with a lifetime commitment to the encouragement of the living theatre everywhere.”  She is the Co-Executive Editor of the Lincoln Center Theater Review.

 

Photo by Rex Bonomelli

Photo by Rex Bonomelli

Alexis Gargagliano is the editor of the Lincoln Center Theater Review and an executive editor at Regan Arts, she has also worked at Scribner and Atavist Books and has had the pleasure of working with such wonderful authors as Anita Amirrezvani, Matt Bondurant, Staceyann Chin, Alison Espach, Cristina García, Adam Gollner, Linda Grant, Linda Gray, Charles Johnson, Tracie McMillan, Robin Romm, Ronda Rousey, and Juliet Schor.

 

Photo Courtesy of the Artist

Photo Courtesy of the Artist

Tamar Cohen is a New York-born and-based graphic designer and fine artist. She has art directed and designed over 55 issues of the Lincoln Center Theater Review in the last 22 years. She splits her time between her design firm Tamarco where her clients have included Chronicle Books, the Gap, Nickelodeon, TBS, ESPN and Swatch and working on her own silk-screened collage abstractions. You can see more of her work at tamarcohen.com.

 

Photo Courtesy of the Artist

David Leopold has organized exhibitions for museums around the country including the Library of Congress and the New York Public Library for the Performing Arts. Internationally, he has curated shows for the Victoria and Albert Museum, and the Filmmuseums in Frankfurt and Berlin. He is now the Creative Director for the Al Hirschfeld Foundation and, as author, his latest book, The Hirschfeld Century: Portrait of An Artist and His Age was published by Alfred A. Knopf to coincide with a major retrospective that Leopold curated for the New York Historical Society. For the last two decades, Leopold has been the Picture Editor of the Lincoln Center Theater Review.

 

 

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Start: Jan 11, 2016
End: Jan 11, 2016
Venue: Segal Theatre
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March 14, 2016

Segal Book Celebration: Four Arab Hamlet Plays

Front cover from Four Arab Hamlet Plays

Front cover from Four Arab Hamlet Plays

Monday, March 14
Segal Theatre

6:30pm Reading + Discussion

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

Jumping off from Shakespeare’s tragedy, the Arab Hamlet tradition has produced bitter and hilarious political satire, musical comedy, and farce. This new Segal Center publication Four Arab Hamlet Plays  samples that tradition with works by Nabyl Lahlou (Ophelia is Not Dead, Morocco, 1968), Mamduh Adwan (Hamlet Wakes Up Late, Syria, 1976), Nader Omran (A Theatre Company Found a Theatre and Theatred “Hamlet”, Jordan, 1984), Jawad al-Assadi (Forget Hamlet, Iraq, 1994), plus an autobiographical sketch by Mahmoud Aboudoma (“Gamlet” is Russian for “Hamlet”, Egypt, 2006). Edited and translated by Marvin Carlson and Margaret Litvin, with Joy Arab. Additional full translation by Khalid Amine, as well as translation contributions by Michael LoCicero and George Potter.

Featuring an excerpted reading from Four Arab Hamlet Plays directed by Rebekah Maggor. Followed by a Skype session with Margaret Litvin, and discussion and Q & A with Marvin Carlson.

364Marvin Carlson is the Sidney E. Cohn Professor of Theatre, Comparative Literature, and Middle Eastern Studies at the Graduate Center of the City University of New York. His research and teaching interests include dramatic theory and Western European theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Barnard Hewitt Award, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a Fellow of the Institute for Advanced Studies at Indiana University, a Visiting Professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (Cornell University Press, 1984), has been translated into seven languages. His 2001 book, The Haunted Stage won the Callaway Prize. His newest book is Four Arab Hamlet Plays (Martin E. Segal Center Publications 2015).

Margaret Litvin

Margaret Litvin is associate professor of Arabic and Comparative Literature at Boston University (USA) and founder of the Middle East and North Africa Studies Program in Boston University’s Frederick S. Pardee School of Global Studies. She is the author of Hamlet’s Arab Journey: Shakespeare’s Prince and Nasser’s Ghost (Princeton, 2011). Her articles, interviews, and reviews have appeared in journals of Arabic literature, Shakespeare studies, and theatre. She holds a PhD in Social Thought from the University of Chicago and a BA in Humanities from Yale. During the 2015-6 year she is an ACLS Frederick Burkhardt Fellow at the Swedish Collegium for Advanced Study in Uppsala, Sweden, researching the literary impact of Arab-Russian and Arab-Soviet educational and cultural ties, a project for which she has also been awarded a Peter Paul Career Development Professorship at BU and a Fellowship for Experienced Researchers from the Alexander von Humboldt Foundation.

RebekRebekah Maggorah Maggor is a director, translator, performer, playwright, and scholar. Her plays and translations have had readings and productions at the American Repertory Theater, the New York Theater Workshop, the Old Vic in London, the Huntington Theatre Company, the Segal Theatre Center, among others. Maggor has received grants and fellowships from the National Endowment for the Arts for literature in translation, the Andrew W. Mellon Foundation’s Global Connections Program through TCG, the Doris Duke Charitable Foundation’s Building Bridges Program, and the Fulbright Middle East and North Africa Regional Research Program. She is co-editor and co-translator of the forthcoming anthology Tahrir Tales: Plays from the Egyptian Revolution (June, 2016, Seagull Books). She has taught theatre and performance at Vanderbilt University and Harvard University and is currently an affiliated scholar at the Charles Warren Center at Harvard University. aoiagency.com/rebekah-maggor

Start: Mar 14, 2016
End: Mar 14, 2016
Venue: Segal Theatre
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March 28, 2016

Remembering Amelia Hertz – Decadent Histories: Four Plays

book cover from Jadwiga Kosicka's Decadent Histories
Book cover from Jadwiga Kosicka’s Decadent Histories

Monday, March 28
Segal Theatre
6:30pm Readings + Discussion

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

A celebration of the new Segal Theatre Center publication—Decadent Histories: Four Plays by the recently rediscovered extraordinary Polish-Jewish playwright Amelia Hertz (1878-1942). After earning a doctorate in chemistry in 1904, Hertz followed careers as both playwright and historian in fields traditionally dominated by men with in-depth studies of history, archeology, and ancient Middle Eastern languages. In her plays, which evoke perverse and macabre decadence and the ends of old worlds, she reworks legendary, historical, and fairy-tale materials and reinterprets well-known legends, such as Tristan and Isolde and Gilles de Rais. Hertz died in the notorious Pawiak Gestapo Prison in Warsaw in 1942, a victim of the Nazis.

Excerpts directed by Jane House. With Jadwiga Kosicka, editor and translator. Presented by the Martin E. Segal Theatre Center; The Center for the Study of Women and Society, GC CUNY; Jane House Productions; and the Polish Cultural Institute, New York (Agata Grenda, Director; Tomek Smolarski).

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Jadwiga Kosicka was born and educated in Poland. She has translated numerous works from Polish which have appeared in many scholarly journals such as Theatre Quarterly, Theatre Three, Formations, The Polish Review, yale/theatre, New York Review of Books, Performing Arts Journal, SEEP (formerly called Soviet and East European Performance), among others. She has also translated and edited To Steal a March on God by Hanna Krall and A Dream by Felicja Kruszewska published by Routledge Harwood’s Polish and East European Theatre Archive; and Jan Kott’s autobiography, Still Alive (Yale University Press); and Zygmunt Hübner’s Theater and Politics (Northwestern University Press), among others.

Jane HouseJane House, Ph.D., has performed off-off-Broadway, on Broadway, in regional theatre and national tours, in film, and on TV. Her translations from Italian have appeared in Twentieth-Century Italian Drama: An Anthology, 1900–50 (1995) and The Mellen Collection of Twentieth-Century Italian Drama 1950–2001 (2015). Many of them have been presented as staged readings at the Segal Theatre, most recently in an evening focused on prize-winning Italian playwrights of the last few years. She is delighted to be celebrating the publication of translations from Polish by Jadwiga Kosicka.

Start: Mar 28, 2016
End: Mar 28, 2016
Venue: Segal Theatre
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May 10

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

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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