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March 6, 2017

FTP: Temporary Distortion – This Empty Room

Photo courtesy of Kenneth Collins

4:20pm – 4:45pm
Temporary Distortion – This Empty Room (US, 2017)
10 minutes | Segal Theatre
English
www.temporarydistortion.com

This Empty Room is a site-specific short film. It is a portrait of where you are right now.

While contemporary culture trains us in practices of distraction, fragmentation, and multitasking, this film asks you to make space for a single-focused awareness of the present moment and your current surroundings.

There are as many possible versions of this film as there are rooms to view them.

*Followed by a brief discussion with Kenneth Collins.

Photo by Shannon Collins

Temporary Distortion explores the potential tensions and overlaps found between practices in visual art, theater, cinema, and music. The group works across and between disciplines to create performances, installations, films, albums, and works for the stage that have been shown in over twenty cities in Australia, Austria, Canada, the Czech Republic, France, Greece, Hungary, Japan, Russia, South Korea, and the United States.

Temporary Distortion’s recent work has focused on long-duration, installation-based performances featuring live music, where spectators are encouraged to come and go throughout all-night events.

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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March 6, 2017

FTP: A Two Dogs Company/ Kris Verdonck – Presyncope

Photo courtesy of A Two Dogs Company

4:45pm – 5:00pm
A Two Dogs Company/ Kris Verdonck – Presyncope (Belgium, 2010)
15 minutes | Segal Theatre
English
www.atwodogscompany.org

In Presyncope, a camera slowly and steadily slides down the façade of a tall office block. It is pointed towards the ground, approaching it slowly. We hear the calm voice of someone describing her thoughts and impressions during the fall. This inner monologue contains scraps of memories from the lifetime that preceded the fall.

Presyncope is a state consisting of lightheadedness, muscular weakness,
and feeling faint.

 

Photo by Danny Williams

As a theatre maker and visual artist, Kris Verdonck (Belgium, 1974) can look back over a wide variety of projects positioned in the transit zone between visual arts and theatre, between installation and performance, between dance and architecture. Most recently, Verdonck created the 3D video-installation ISOS with the support of the EMPAC Rensselaer Polytechnic Institute. ISOS is based on the world and characters from the apocalyptic science-fiction novels of J.G. Ballard and was presented at the International Film Festival Rotterdam. Last year, a symposium on Verdonck’s artistic practice was organized in the Martin E. Segal Theatre Center.

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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March 6, 2017

FTP: Brian Rogers/ The Chocolate Factory Theater – Screamers

Photo courtesy of Brian Rogers

5:00pm – 6:00pm
Brian Rogers/ The Chocolate Factory Theater – Screamers (US, work-in-progress)
30 minutes excerpt | Segal Theatre
English
www.chocolatefactorytheater.org

Screamers (working title) is Brian Rogers’ first feature film.

It is one half of a larger project which will premiere at PS122 later this year.

*Followed by a brief discussion with Brian Rogers.

 

Photo courtesy of Brian Rogers

Brian Rogers is a director, video artist, co-founder and artistic director of The Chocolate Factory Theater, which supports the creation of theater, dance, music and multimedia performances at its 5,000 sq ft facility in LIC, Queens. Since 1997, Brian has conceived and/or directed numerous large scale performances at The Chocolate Factory and elsewhere including Hot Box (September 2012, co-presented with FIAF’s Crossing The Line Festival / January 2013, PS122’s COIL Festival / February 2013, EMPAC Center), the Bessie-nominated Selective Memory (2010/11), redevelop (death valley) (2009), 2 Husbands (2007), Gun Play (2006), Audit (2004), and Fundamental (2002). His newest project, Screamers, will premiere at PS122 in 2017.

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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March 6, 2017

FTP: Andrew Schneider – Acting Stranger

Photo courtesy of the artist

6:00pm – 6:30pm
Andrew Schneider – Acting Stranger (US, 2014) 
20 minutes | Segal Theatre
English
www.actingstranger.com

I write very short scenes. No exposition, no inciting incident, no denouement. We act them together, you and I, having never rehearsed, discussed, or met. These scenes are videotaped as documentation and made available through a website. The film is a document, a by-product of the ongoing process exploring intimacy between strangers.
*Followed by a brief discussion with Andrew Schneider

 

Photo by Maria Baranova

Andrew Schneider creates and performs solo performance works, large-scale dance works, builds interactive electronic art works and installations, and was a Wooster Group company member (video/performer) from 2007-2014. Andrew’s original performance work in NYC includes YOUARENOWHERE (2015 OBIE award, 2016 Drama Desk nom.); FIELD (2014); TIDAL (2013); WOW+FLUTTER (2010) at The Chocolate Factory Theater among others. His interactive work has been featured in such publications as Art Forum and Wired, among others and at the Center Pompidou in Paris.
More at andrewjs.com

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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March 6, 2017

FTP: Lee Breuer & Eric Marciano – La Divina Caricatura

Photo Courtesy of the artist

6:30pm – 7:30pm
Lee Breuer & Eric Marciano – La Divina Caricatura (US, 2017)
20 minutes excerpt | Segal Theatre
English
www.leebreuer.dog

La Divina Caricatura, is part of the artist Lee Breuer’s canon of personal works called, I Don’t Want to Change Your Mind, I Want To Change Your Music. Much like Whitman’s Leaves of Grass this a life-long body of work that he has been continuously adding to. It includes music, plays, poetry, and screenplays. La Divina Caricatura’s proposed screenplay is an adaptation of a musical theater piece that featured Bunraku puppets, musical performances by three bands and live actors. The original theater piece was performed at LaMaMa Theater in December 2013. The work is an exploration of a love relationship between a man, John and his dog Rose. These lovers go through cathartic and transcendental experiences on a Dantesque pilgrimage.

*Followed by a brief discussion with Lee Breuer and Eric Marciano.

 

Photo by Tom LeGoff

Lee Breuer is a playwright, director, filmmaker, poet, & lyricist. He is considered to be one of the most innovative directors on the world stage. Breuer is an artistic director of Mabou Mines Theater Company, which he founded in 1970 with JoAnne Akalaitis, Philip Glass, Ruth Maleczech, and David Warrilow. Lee is a MacArthur Fellow, and a Chevalier of the Order of Arts and Letters.

 

 

Photo courtesy of the artist

Eric Marciano is a New York based filmmaker, media designer and storyteller. He attended the School of Visual Arts in New York, where he earned a BFA in filmmaking in 1984. In 1984 he formed American Montage to engage in editing, motion picture production and storytelling to its fullest. In 2016, the Museum of Modern Art acquired all of Mr. Marciano’s early film works for their permanent collection.

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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March 6, 2017

FTP: Claire Moodey with Steve Zehentner and Penny Arcade – Richard Foreman Biography

Photo by Eric Wallach

7:30pm – 8:30pm
Claire Moodey – Richard Foreman Biography (US, 2013)
English | 30 minutes | Segal Theatre
in collaboration with Steve Zehentner and Penny Arcade
www.pennyarcade.tv

The Richard Foreman Biography is a part of The Lower East Side Biography Project, created in 1999 by performance artist Penny Arcade and video producer Steve Zehentner as an ongoing biography series and oral history archive.

About Richard Foreman: He is the founder and artistic director of the non-profit Ontological-Hysteric Theater (1968-present). He has written, directed and designed over fifty of his own plays both in New York City and abroad. Five of his plays have received OBIE awards as best play of the year—and he has received, next to many national and international awards, five other OBIE’S for directing and for “sustained achievement.”

*Followed by a brief discussion withSteve Zehentner and Penny Arcade

 

Penny Arcade. Photo by Steven Menendez

The LES Bio Project’s biographies and archive will help to ensure that future generations have access to the mad souls of invention and rebellion that built the Lower East Side’s international reputation as an incubator for authenticity and iconoclasm in art, culture and politics. The project seeks to stem the tide of cultural amnesia by bridging the cultural gap between long time residents and newcomers to the rapidly gentrifying neighborhood of New York’s Lower East Side. The project’s biographies cablecast in New York City every Monday at 11pm EST on Time Warner Channel 34, RCN 82, FIOS 33, and stream live on Manhattan Neighborhood Network Channel One.

Start: Mar 6, 2017
End: Mar 6, 2017
Venue: Segal Theatre
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April 3, 2017

Richard Maxwell

Photo by Juri Junkov

Monday, April 3
Segal Theatre
6:30pm Artist Talk + 2:00pm Screenings

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

Join us for an artist talk with Richard Maxwell of New York City Players and selected afternoon screenings of his work.


Evening Program
6:30pm
Richard Maxwell in Conversation
with Frank Hentschker

Afternoon Screenings:
2:00pm
House (1998 / 50 mins)
3:00pm The Darkness of this Reading (2005 / 60 mins)
4:00pm Isolde (2014 / 90 mins)

Richard Maxwell is a playwright, director, and the artistic director of New York City Players. He studied acting at Illinois State University and then became a co-founder of the Cook County Theater Department. He is a Doris Duke Performing Artist and has received a Guggenheim Fellowship, two OBIE Awards, a Foundation for Contemporary Arts Grant, and was an invited artist in the Whitney Biennial. His latest book, Theater for Beginners, is published by TCG (2015). He directed Jackie Sibblies Drury’s play, Really, for New York City Players (March 2016). Upcoming projects include The Evening Part 2 and Samara, directed by Sarah Benson with music by Steve Earle (April 4-May 7 at Soho Rep).

Start: Apr 3, 2017
End: Apr 3, 2017
Venue: Segal Theatre
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April 24, 2017

Remembering Dario Fo with Robert Brustein

Photo by Guido Harari/Milan (1995)

Monday, April 24
Segal Theatre
6:30pm Conversation + 2:00pm Screenings

*Watch livestream here at 6:30pm!

FREE + Open to public. First come, first served.
Join us for a day celebrating the legacy of Dario Fo with Robert Brustein, the legendary founder of the Yale Repertory Theatre and the American Repertory Theater (A.R.T) and Institute in Cambridge, Massachusetts.

Evening conversation with Robert Brustein (via Skype) ; plus actor Joseph Grifasi reads excerpts from selected Dario Fo plays:

Accidental Death of An Anarchist (1970)
Johan Padan and the Discovery of the Americas (1992)
Mistero Buffo (1969)
We Won’t Pay! We Won’t Pay! (1974)
(Plays TBC)

Afternoon screenings curated by Rossella Menna.

Additional support from Rossella Menna (Dramaturg, performing arts curator), and Mariateresa Pizza (Director, Franca Rame Dario Fo Archive/Rome); the Italian Playwrights Project, Valeria Orani and The Italian Cultural Institute, Giorgio Van Straten.

The Segal Center honored Franca Rame in 2013 after her passing.

 

Afternoon screenings:

2:00pm Mistero Buffo Part 1 (Palazzina Liberty, 1977)
– subtitled English 60 min excerpt
3:00pm Morte accidentale di un anarchico (Teatro Cristallo, Milano 1987) – subtitled English 60 min excerpt
4:00pm The Theatre of Dario Fo (documentary, 1984) – in English 50 min
5:00pm Dario Fo and Franca Rame: A Nobel for Two (documentary, 1998) in English 55 min Directed by Lorena Luciano & Filippo Piscopo

 

Photo courtesy of the artist

Awarded the coveted National Medal for the Arts in 2011 by President Obama, Robert Brustein—a veteran of World War II—has been a playwright, critic, teacher, actor, director, and founder of
two major repertory theatre companies, the Yale Repertory Theatre and the American Repertory Theatre at Harvard. Distinguished Scholar in Residence at Suffolk University, he is a former Professor of English at Harvard University (now Senior Research Fellow), and New Republic Theatre Critic for over forty years. He now writes regularly for the Huffington Post, and teaches Dramaturgy students at the Drama School. He was Dean of the Yale School of Drama for thirteen years, where he also founded Yale Theatre magazine and the Yale Cabaret. He served for 20 years as Director of the Loeb Drama Center where he founded the ART Institute for Advanced Theatre Training at Harvard.

 

In Fugadal Senato 2013@ Photo credit: Luca Vittorio Toffolon

Dario Fo (24 March 1926 – 13 October 2016) was an Italian actor-playwright, comedian, singer, theatre director, stage designer, songwriter, painter, political campaigner for the Italian left-wing and the recipient of the 1997 Nobel Prize in Literature. Fo’s plays, in a hybrid Brechtian tradition, have been translated into 30 languages, and he was considered the most widely performed contemporary playwright in world theatre. Much of Fo’s dramatic work, co-created with his partner Franca Rame (18 July 1929 – 29 May 2013), depends on improvisation and comprises the recovery of “illegitimate” forms of theatre, such as those performed by giullari (medieval strolling players) and, more famously, the ancient Italian style of commedia dell’arte.
His plays have been translated into 30 languages and performed across the world, including in Argentina, Chile, the Netherlands, Poland, Romania, South Africa, South Korea, Spain, Sri Lanka, Sweden, the UK[6] and Yugoslavia. His work of the 1960s, 1970s and 1980s is peppered with criticisms of assassinations, corruption, organised crime, racism, Roman Catholic theology and war. Throughout the 1990s and 2000s, he took to lampooning Forza Italia and its leader Silvio Berlusconi, while his targets of the 2010s included the banks amid the European sovereign-debt crisis.
Fo’s solo pièce célèbre, titled Mistero Buffo and performed across Europe, Canada and Latin America over a 30-year period, is recognised as one of the most controversial and popular spectacles in postwar European theatre. The play has been denounced by by Cardinal Ugo Poletti from the Vatican as “the most blasphemous show in the history of television”. Fo considered himself an atheist. The 1997 Nobel Prize in Literature marked the “international acknowledgment of Fo as a major figure in twentieth-century world theatre.” The Swedish Academy praised Fo as a writer “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”. Dario Fo owned and operated his own theatre company.

                                                                                                                                                        

Photo courtesy of the artist.

JOE GRIFASI Recent appearances include Endgame at Long Wharf Theater, Julie Taymore’s A Midsummer Night’s Dream and the Encores revival of Little Shop of Horrors. Broadway shows include Dinner at Eight, The Mystery of Edwin Drood, The Accidental Death of an Anarchist, The 1940’s Radio Hour and Happy End. Other credits:  The Boys Next Door (Drama Desk Award), Says I Says He, Phoenix Theater, Hughie Goodman Theater, Room Service, Enemies (Williamstown), About Face and A Midsummer Night’s Dream (Yale Rep). Directing credits include One Slight Hitch by Lewis Black, A Cup of Coffee by Preston Sturges and As I Remember It at The Kennedy Center. Joe has appeared in over fifty feature films including, Presumed Innocent, The Deer Hunter, Beaches, Naked Gun, Benny & Joon, Matewan, FX and Natural Born Killers. TV appearances include, Bull, The Good Wife, Law & Order, Rosanne and LA Law. He is on the faculty of  The New School of Drama.

 

Start: Apr 24, 2017
End: Apr 24, 2017
Venue: Segal Theatre
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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 30, 2017

Artist talk with Tadashi Suzuki (Japan)

Photo courtesy of the artist

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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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 13, 2017

Roy Cohn/Jack Smith: Remembering Ron Vawter

Photo by Paula Court

Monday, November 13
Segal Theatre
6:30pm Screening + Discussion

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

Join us for a rare screening of a tape of a live performance of Ron Vawter’s legendary performance piece, Roy Cohn/Jack Smith, 25 years after it opened at The Performing Garage in 1992. Followed by a discussion with director Gregory Mehrten, author Gary Indiana, and critics and scholars David Román and Alisa Solomon. Moderated by Frank Hentschker.

Vawter’s two-part solo performance is a double portrait of two complex minds and two opposing manifestations of gay sexuality. Roy Cohn, written by Gary Indiana, is a fictitious imagining of an after-dinner speech that might have been delivered by Donald Trump’s mentor, the homophobic right-wing lawyer and sleazy back-room politico, Roy Cohn, to the “American Association for the Protection of the Family” in 1976. The second part, Jack Smith, is based on an audio recording of a performance by Jack Smith, the notorious underground filmmaker of Flaming Creatures fame, who, in flamboyant harem drag, constructed his own private theater of resistance from fragments of Arabian Nights kitsch, avant-garde film feuds, and passionate B-movie camp. Cohn and Smith had nothing in common except their homosexuality and their deaths from AIDS in New York in the late 1980’s. Vawter, who embodies both men without imitation, died of AIDS in 1994. Born in 1948, he was a founding member of The Wooster Group, and also worked with many leading directors of the Downtown scene.

Photo courtesy of the artist

Greg Mehrten is an actor, director, writer, translator, and designer who has been making theater Downtown since 1975. A graduate in Theater Arts/Directing from UC Santa Cruz, he was invited by Lee Breuer to come to New York to work with Mabou Mines. He continues to work with Lee and Mabou Mines, including his upcoming role, alongside Maude Mitchell, in Glass Guignol, The Brother and Sister Play, at the new PS122. He has also worked (often many times) with directors JoAnne Akalaitis, Zoe Beloff, Anne Bogart, Kyle DeCamp, Jonathan Demme, Alison Folland, John Jesurun, Elizabeth Lecompte of the Wooster Group, Ruth Maleczech, Christina Masciotti, Richard Maxwell of New York City Players, Brooke O’Harra, PearlDamour, Bill Raymond and Linda Hartinian, David Schweizer, Ron Vawter and Marianne Weems, and Bruce Yonemoto, among others. He was a Member and co-Artistic Director of Mabou Mines from 1980 to 1991 (OBIE Award for Sustained Achievement, 1984), and is currently an Associate Member of the Wooster Group.

Start: Nov 13, 2017
End: Nov 13, 2017
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November 20, 2017

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

Photo courtesy of the artist

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 18, 2017

Celebrating the Life and Work of Trisha Brown

Photo © Marc Ginot

Monday, December 18
Segal Theatre
2:00pm Screening+ 6:30pm Panel

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

Join us for a day celebrating the life and work of Trisha Brown (1936-2017).

Following the afternoon screenings from the Trisha Brown Archive, curated by Cori Olinghouse, the evening discussion features Art historian Susan Rosenberg, associate artistic director and former Trisha Brown Dance Company member Diane Madden, and former rehearsal director and choreographer Gwen Welliver. Moderated by Frank Hentschker. Susan Rosenberg’s recent publication on the artist, Trisha Brown: Choreography as Visual Art (Wesleyan, 2016) will also be available at the event.

“One of the most acclaimed and influential choreographers and dancers of her time, Trisha Brown’s groundbreaking work forever changed the landscape of art. A student of Anna Halprin, Brown participated in the choreographic composition workshops taught by Robert Dunn–from which Judson Dance Theater was born–greatly contributing to the fervent interdisciplinary creativity that defined 1960s New York. Expanding the physical behaviors that qualified as dance, she discovered the extraordinary in the everyday, and brought tasks, rulegames, natural movement and improvisation into the making of choreography.

With the founding of the Trisha Brown Dance Company in 1970, Brown set off on her own distinctive path of artistic investigation and ceaseless experimentation, which extended for forty years. The creator of over 100 choreographies, six operas, and a graphic artist, whose drawings have earned recognition in numerous museum exhibitions and collections, Brown’s earliest works took impetus from the cityscape of downtown SoHo, where she was a pioneering settler. In the 1970s, as Brown strove to invent an original abstract movement language–one of her singular achievements–it was art galleries, museums and international exhibitions that provided her work its most important presentation context.

Today the Trisha Brown Dance Company continues to perpetuate Brown’s legacy through its ‘Trisha Brown: In Plain Site’ initiative. Through it, the company draws on Brown’s model for reinvigorating her choreography through its re-siting in relation to new contexts that include outdoor sites, and museum settings and collections. The company is also involved in an ongoing process of reconstructing and remounting major works that Brown created for the proscenium stage between 1979 and 2011. In addition, the company continues its work to consolidate Trisha Brown’s artistic legacy through their management of her vast archives of notebooks; correspondence; critical reviews; and an unprecedented moving image catalogue raisonné, which records her meticulous creative process over many decades.”

Text by Susan Rosenberg, 2017.

Schedule:

2:00pm – 5:00pm
Screening from the Trisha Brown Archive, curated by Cori Olinghouse.
Courtesy of Trisha Brown Archive.

2:00pm
Skunk Cabbage, Salt Grass, and Waders (1969)
Choreography: Trisha Brown

2:45pm
Dancing on the Edge
 
(1981)
Choreography: Trisha Brown

3:30pm
Set and Reset: Version 1 (1985)
Choreography: Trisha Brown
Videography: James Byrne

4:15pm 
Aeros (1990)
Director: Burt Barr
Choreography: Trisha Brown
Visual Presentation: Robert Rauschenberg
Film: Robert Whitman

6:30pm
Panel with dance experts and members of Trisha Brown Dance Company, including Susan Rosenberg, Diane Madden, and Gwen Welliver. Moderated by Frank Hentschker.

 

Diane Madden, photographed in the Torre Bonomo, Spoleto, in front of Sol LeWitt’s wall drawings. Image © Tim Smyth

Diane Madden (Associate artistic director and former Trisha Brown Dance Company member)
is a performer, choreographer, director and teacher based in NYC. Currently Associate Artistic Director of the Trisha Brown Company, she has contributed to the creation and performance of Trisha Brown’s work since 1980. She performs, teaches and lectures with the company and curates the work for site-specific programs. She presents her own solo and collaborative choreography at home and abroad and has enjoyed working with choreographers Jerome Bel, Lance Gries, Juliette Mapp, Polly Motley, Vicky Shick and Cathy Weis. Madden’s teaching weaves anatomically grounded technique with improvisation, composition and performance skills. Her worldwide students range from dance artist professionals and college students to artists from other disciplines including actors, singers, visual artists and composers. Since 2006, Madden has been greatly influenced by her study and practice of Aikido with Fuminori Onuma. The Princess Grace Foundation has recognized Madden with two awards, in 1986 and again in 1994 for sustained achievement. She also received a New York Dance and Performance Award (Bessie) in 1989. In 2012 NYC’s Movement Research honored her, along with the original cast, for Brown’s Set and Reset (1983) collaboration with Rauschenberg and Laurie Anderson.

Cori Olinghouse (Curator of afternoon screenings, Archive Director) is an interdisciplinary artist, archivist, and curator. Her work has been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Recently, she was the recipient of The Award (2015-2016), and a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program (2016-2017). Olinghouse danced for the Trisha Brown Dance Company (2002-2006), and has served as the Archive Director since 2009. As founding director of The Portal Project, she is currently developing a series of artist archivist projects that explore the transmission of improvisational performance practices in a space between documentation and embodiment. She serves as guest faculty at the Center for Curatorial Studies at Bard College, and has lectured at the Museum of Modern Art, Duke University, Lincoln Center, among other institutions. She is a graduate of the inaugural class in the Institute for Curatorial Practice in Performance at Wesleyan University.

Susan Rosenberg (Art historian) is the author of Trisha Brown: Choreography as Visual Art (Wesleyan University Press, 2016). She serves as Consulting Historical Scholar at the Trisha Brown Dance Company and directs the M.A. Program in Museum Administration at St. John’s University, New York, where she is also Associate Professor of Art History. She recently contributed to the French/English exhibition catalog, Minimalismes: 1960s-1980s produced in celebration of the 40th anniversary of the Centre Pompidou Pairs; to the French/English anthology Spacecapes: Dance and Drawing; and to the 2013 German/English exhibition catalog, Nancy Graves Projects and Special Friends. Her essays have appeared October and TDR, (published by MIT Press). Dr. Rosenberg has lectured widely on the work of Trisha Brown at international, national conferences and museums, and university departments.

Photo courtesy of the artist

Gwen Welliver (Former rehearsal director and choreographer) is an award-winning dancer/choreographer renowned for her range and depth across formats from performance installation to opera. Welliver is a New York Dance and Performance Bessie Awardee for Sustained Achievement in Dancing with Doug Varone and Dancers. As Rehearsal Director for Trisha Brown, she oversaw company repertory, remounted opera, and directed the revival of seminal works for touring exhibition. Welliver has taught on four continents in universities, conservatories, and festivals. She is now on the School of Dance Faculty at Florida State University. Current engagements include: Martha Graham Dance Company Lamentation Variation commission (2018), NYFA Fellow in Choreography (2013-present), Andrew W. Mellon Foundation Artist in Residence at Center for Performance Research (2017, 2018), and Gibney Dance commission (2018).

About the films:

Skunk Cabbage, Salt Grass, and Waders (1969)
Choreography: Trisha Brown
A film documenting the Festival di Danza Volo Musica Dinamite, which took place June 9-19, 1969 at the Galleria L’Attico in Rome. Performers included Terry Riley; Trisha Brown; La Monte Young and Marian Zazella; Steve Paxton; Deborah Hay; Simone Forti; and David Bradshaw. Yvonne Rainer did not perform but presented material. For this event, we will screen Trisha Brown’s solo performance of Skunk Cabbage, Salt Grass, and Waders (1967).

Dancing on the Edge (1981)
Choreography: Trisha Brown
This collaboration with WGBH and the New Television Workshop includes performances of Opal Loop, Watermotor for Dancer and Camera, and Locus/Altered, and a lecture/demonstration for a Bennington College audience.

Set and Reset: Version 1 (1985)
Choreography: Trisha Brown
Videography: James Byrne
Another collaboration with WGBH, Set and Reset: Version 1 is an in-studio performance of Set and Reset in which the camera becomes an intimate part of the dance.

Aeros (1990)
Director: Burt Barr
Choreography: Trisha Brown
Visual Presentation: Robert Rauschenberg
Film: Robert Whitman
A document of the evolution of Trisha Brown’s choreographic work, Astral Convertible, filmed over a two-year period by her husband, filmmaker and video artist Burt Barr.
(Here is further information on the piece: https://www.eai.org/titles/aeros)

Courtesy of Trisha Brown Archive

Start: Dec 18, 2017
End: Dec 18, 2017
Category:
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March 1

Segal Center Film Festival on Theatre and Performance 2018

Segal Center Film Festival on Theatre and Performance 2018

Start: Mar 1, 2018
End: Mar 3, 2018
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April 2

A Day with Meredith Monk

Meredith Monk directing Book of Days. Photo by Dominique Lasseur

Monday, April 2
Segal Theatre
5:30pm Discussion + 1:00pm Screenings

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

Join us for a day with iconic composer, singer, director/choreographer and filmmaker, Meredith Monk. Following afternoon screenings, the evening discussion features Meredith Monk, Performing Arts Journal editor Bonnie Marranca, and Frank Hentschker. Screenings will include 16 Millimeter Earrings (1966), Book of Days (1988), Ellis Island (1981), Turtle Dreams (1983), Paris (1982), and several of Monk’s short silent films (1966-1994).

Considered one of the most unique and influential artists of our time, Meredith Monk has been a pioneer of interdisciplinary work for over 50 years. Her award-winning films, Ellis Island and Book of Days, have screened world-wide and on PBS, and her music has been used by filmmakers Jean-Luc Godard, Terrence Malick, David Byrne and the Coen brothers, among others. Monk has made more than a dozen recordings on the ECM label, including the 2008 Grammy-nominated Impermanence. In conjunction with her 50th season of performing and creating work, she was named the 2014-15 Debs Composer’s Chair at Carnegie Hall. Recent honors include the 2017 Dorothy and Lillian Gish Prize and a 2015 National Medal of Arts from President Barack Obama. Celebrated internationally, Ms. Monk’s work has been presented at major venues throughout the world.

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

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

Schedule:
1:00pm       16 Millimeter Earrings (1979, 25 minutes)
1:30pm       Book of Days   (1988, 85 minutes)
3:00pm     Ellis Island (1981, 28 minutes)
3:30pm     Turtle Dreams (Waltz) (1983, 27 minutes )
4:00pm     Paris (1982, 26 minutes)
4:30pm     Monk’s Short Silent Films (1966-1994, 40 minutes)
                    16 Millimeter Earrings (1966, 4 minutes)
                    Children (1967,  8 minutes)
                    Ball Bearing (1968, 6 ½ minutes)
                   Quarry (1975, 5 ½ minutes)
                   Ellis Island (1979, 6 ½ minutes)
                   Faces (1994, 5 minutes)
5:30pm     Discussion with Meredith Monk, Bonnie Marranca, and Frank Hentschker

 

About the films:

16 Millimeter Earrings (1979)
Conceived and Performed by Meredith Monk
Produced, Directed and Photographed by Robert Withers
A reconstruction of the original 1966 piece

16 Millimeter Earrings is considered one of Meredith Monk’s breakthrough works. Of the original production performed at the Judson Church in 1966, John Perrault of the Village Voice wrote, “movement, film, words, and sounds are so skillfully interwoven and inter-related that no description can substitute for actually seeing the kind of magic she has managed to produce.” This film interpretation by Robert Withers documents a 1979 reconstruction and is his cinematic view of the piece.

Book of Days (1988)
Conceived and Directed by Meredith Monk
Cinematography by Jerry Pantzer
Art Direction and Costume Design by Yoshio Yabara
Music by Meredith Monk
Produced by Catherine Tatge and Dominique Lasseur

Book of Days is a film about time, drawing parallels between the Middle Ages, a time of war, plague and fear of the Apocalypse, with our modern times of racial and religious conflict, the AIDS epidemic, and the fear of nuclear annihilation. The film aired on PBS, was shown at the New York Film Festival and was selected for the Whitney Biennial.

Ellis Island  (1981)
Conceived and Directed by Meredith Monk
Produced and Co-Directed by Bob Rosen
Cinematography by Jerry Pantzer
Music by Meredith Monk
Co-produced by Greenwich Film Associates and ZDF Germany

“An intensely memorable film evocation of America’s immigrants; set in the crumbling halls of contemporary Ellis Island…spare, sober, and exquisite, it recalls the formality and beauty of vintage photos.” (Village Voice) Ellis Island aired on PBS and was awarded the CINE Golden Eagle, special Jury Prize from the Atlanta and San Francisco Film and Video Festivals.

Turtle Dreams (Waltz) (1983)
Conceived by Meredith Monk
Performed by Meredith Monk & Vocal Ensemble
Directed by Ping Chong
Music by Meredith Monk
Co-Produced by WGBH-Boston

Turtle Dreams (Waltz) is a music piece with movement for 4 voices and 2 organs. This section of the work was originally performed live in 1981 as part of Monk’s Music Concert with Film.

Paris (1982)
Conceived and performed by Meredith Monk and Ping Chong
Music by Meredith Monk
Produced and Directed by Mark Lowry and Kathryn Escher
Made in cooperation with the Walker Art Center, Minneapolis and KTCA-TV

Paris  was first performed in 1972. In 1976 it became the first part of The Travelogue Series, a music-theater piece on journeys imaginary and real, to places with a unique and formative role in history and our consciousness. Paris is an evocation of place; the ambiance, inhabitants, and mood of a location.

Short Silent Films (1966-1994)
16 Millimeter Earrings (1966)
Directed by Meredith Monk
Camera by Kenneth Van Sickle

This short, silent version of 16 Millimeter Earrings was one of three films projected on different surfaces at specific times during performances of Monk’s breakthrough interdisciplinary work of the same name.

Children (1967)
Directed by Meredith Monk
Camera by Phill Niblock

Children was originally created for Monk’s Excerpt from a work in progress at the Village Theater. It was shot in New York City’s subways and in Monk’s old studio on St. Mark’s Place.

Ball Bearing  (1968)
Directed by Meredith Monk
Camera by Meredith Monk and George Landow

Ball Bearing was designed as an installation piece, to play continuously forward and backward for an unrestricted time period.

Quarry (1975)
Directed by Meredith Monk
Camera and Editing by David Gearey

Quarry was designed to be projected between the “Dictator’s Speech” and “Rally” sections of Monk’s opera of the same name.

Ellis Island (1979)
Directed by Meredith Monk
Associate Director Bob Rosen
Camera by Jerry Pantzer

This short, silent version of Ellis Island was designed to be projected during a section of Monk’s live work, Recent Ruins. It features members of Meredith Monk/The House, and was filmed on location on Ellis Island prior to its major renovation.

Faces (1994)
Directed by Meredith Monk
Camera by Nick Blair
Edited at Morty’s, New York City with Bruce Ashkinos

Part I of Faces was used in Monk’s Shrine Installation, situated in the lobby of theaters where her solo piece Volcano Songs was performed. Part II was projected as part of the performance. Both are part of an ongoing project called 24 Hours of Faces.

Start: Apr 2, 2018
End: Apr 2, 2018
Venue: Segal Theatre
Category:
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April 9

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

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

 

 

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

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

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

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

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

3:00pm
Serpentine Transformation Marathon

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

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

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

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

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

Photo by Antonio Maria Storch

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

Photo by Antonio Maria Storch

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

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

Photo courtesy of the artist

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

Start: Apr 9, 2018
End: Apr 9, 2018
Venue: Segal Theatre
Category:
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April 23

Two Days with Hans-Thies Lehmann Day #1

Photo courtesy of the artist

 

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

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

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

 

Monday, April 23

Daytime screenings of excerpts from works by:

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

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

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

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

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

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

 

Tuesday, April 24

Daytime screenings of excerpts from works by:

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

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

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

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

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

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

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

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

 

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

Two Days with Hans-Thies Lehmann Day #2

Photo courtesy of the artist

 

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

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

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

Monday, April 23

Daytime screenings of excerpts from works by:

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

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

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

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

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

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

 

Tuesday, April 24

Daytime screenings of excerpts from works by:

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

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

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

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

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

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

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

 

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

Start: Apr 24, 2018
End: Apr 24, 2018
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