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April 28

The 2017 Edwin Booth Award: Taylor Mac

Taylor Mac by Teddy Wolff. Photo courtesy of artist.

Friday, April 28
Proshanksy Auditorium

7:00pm

Join us for an evening celebrating the groundbreaking work of Taylor Mac, American actor, playwright, performance artist, director, producer, and singer-songwriter. Taylor’s 24-hour, 246-song marathon performance, A 24-Decade History of Popular Music, was hailed by Wesley Morris in the New York Times as “one of the greatest experiences of my life.”

The Edwin Booth Award is given annually by the Doctoral Theatre Students’ Association to honor a person, organization, or company for their outstanding contribution to the NYC theatre community, and to promote integration of professional and academic theatre. Past honorees include: The Royal Shakespeare Company (‘83), Ellen Stewart (‘84), Joseph Papp (‘89), Arthur Miller (‘92), Richard Foreman (‘97), Tony Kushner (‘02), Karen Finley (‘08), The Living Theater (‘09), Elevator Repair Service (‘14) and Reverend Billy and the Stop Shopping Choir(’16). The event will feature live performances and a discussion with Frank Hentschker.

Presented by the GC CUNY Doctoral Theatre Students’ Association (DTSA; Elyse Singer, Second Vice President), in collaboration with The Martin E. Segal Theatre Center, and
GC Public Programs (Karen Sander, Director).

Additional support from Center for LGBTQ Studies (CLAGS), The Center for the Humanities at The Graduate Center CUNY, and the Doctoral Students’ Council Marvin Carlson, Sidney E. Cohn Chair in Theatre Studies; David Savran, Vera Mowry Roberts Chair in American Theatre.

          

Start: Apr 28, 2017
End: Apr 28, 2017
Venue: Proshansky Auditorium
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May 1

PEN World Voices: International Play Festival 2017

The Martin E. Segal Theatre Center presents World Voices: International Play Festival 2017. As part of the 2017 PEN World Voices Festival of International Literature, The Segal Center will showcase play readings by nine of the world’s most respected dramatists. With the writers hailing from five different continents, the International Play Festival generates a conversation on art, politics, dreams, war, and philosophy, meant to give American audiences a rich awareness of the greater global dialogue. All readings will be followed by discussion with the playwright.

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


Monday, May 1 | Segal Theatre

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

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

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


Tuesday, May 2 | Segal Theatre

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

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

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


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

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

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

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

The PEN World Voices: International Play Festival 2017 has been made possible by the support of Susan and Jack Rudin(†) and Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

The PEN World Voices: International Play Festival was conceived, created, and curated by Frank Hentschker since 2007 in collaboration with PEN World Voices Festival. The 2017 Festival produced by Brooke Christensen (New York) in collaboration with Frank Hentschker and Antje Oegel. Co-curated by Antje Oegel. Assistant Curator: Soriya K. Chum.

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

Founded by Michael Roberts, Esther Allen, and Salman Rushdie in the aftermath of September 11, 2001, PEN World Voices is the only international literary festival in the world with a human rights focus. It attracts the world’s best-known writers and has garnered broad global acclaim as one of the world’s premier literary events. Since its founding 12 years ago, PEN World Voices has presented more than 1,500 writers and artists from 110 countries, speaking 56 languages. www.penworldvoices.org

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

 

Date: May 1
Venue: Segal Theatre + Nuyorican Poets Cafe
Category:
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May 1

PEN World Voices: International Play Festival 2017: Patricia Cornelius – Shit

Photo by Sebastian Bourges

Monday, May 1
Segal Theatre
4:00pm

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

Shit
Written by Patricia Cornelius (Australia)
Directed by Katie Pearl
Discussion moderated by Peter Eckersall

Out of control girls, angry, nasty girls are a sight to behold. They’re terrifying, electrifying, they’re everything girls shouldn’t be, and we hate them. This is a work about these girls. Their names are Billy, Bobby and Sam.

Patricia Cornelius is a founding member of Melbourne Workers Theatre. She’s a playwright, novelist and film writer. Patricia has a fierce commitment to class and her work often examines the lives of the marginalized. Her work also includes dramaturgy and mentorship with young or new playwrights. Cornelius is a recipient of numerous awards including the 2015 Australian Writers’ Foundation Playwriting Award, the 2012 Patrick White Fellowship, and the 2014 Victorian Premier’s drama. Her plays have earned her 11 Australian Writers Guild awards. She has written over 30 plays including: Shit, Big Heart, Savages, Do not go gentle…, Slut, Love and The Call.

Katie Pearl is a director and writer of new plays and performance for both traditional and alternative spaces.  As co-Artistic Director of the OBIE Award-winning PearlDamour, the interdisciplinary company she shares with playwright Lisa D’Amour, her work has been supported by the Creative Capital Foundation, the Map Fund, and the NEA. Current projects include the multi-year Milton, a performance and community engagement experiment in 5 small towns named Milton around the country, and a new performance about climate and the deep ocean co-commissioned by the A.R.T. and the Harvard University Center for the Environment. Katie is currently an Anschutz Fellow at Princeton, where her teaching and research focus on the concept of the Artist-Citizen.

Peter Eckersall is Professor of Asian Theatre and Executive Officer of the Ph.D. Program in Theatre and Performance at the Graduate Centre, CUNY. 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 co-founder of Dramaturgies and was the resident dramaturg for the performance group Not Yet It’s Difficult.

 

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

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

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

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
6:00pm

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

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

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

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

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

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

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

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

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

Photo courtesy of the Artist

Monday, May 1
Segal Theatre
8:00pm

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

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

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

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

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

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

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

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

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

Jô Bilac’s Venus Flytrap. Photo by Juliana Chalita

Tuesday, May 2
Segal Theatre
4:00pm

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

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

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

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

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

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

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

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

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

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

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

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

Monday, May 2
Segal Theatre
6:00pm

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

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

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

Photo Courtesy of Alexandre Gouzou

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

 

 

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

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

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

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

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

Photo by Esra Rotthoff

Tuesday, May 2
Segal Theatre
8:00pm

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

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

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

Courtesy of Stefan Loeber

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

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

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

 

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

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

Photo courtesy of the Artist

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

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

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

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

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

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

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

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

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

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

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

Photo courtesy of the Artist

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

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

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

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

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

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

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

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

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

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

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

Photo © Doosan Art Center

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

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

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

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

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

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

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

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

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

Andrzej Wirth: A Century in the Landscape of Theatre

Photo by Carol Washburn (1967) and Pawel Kocambasi (2016)

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.

 

Photo by Antonio M. Storch, 2017, Berlin

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 11

Approaching Dance: Transdisciplinary Methodologies and Modalities of the Moving Body in Performance The Doctoral Theatre Students’ Association 2017 Conference

Image © The Bureau for the Future of Choreography 21

Thursday, May 11
Segal Theatre

All day conference

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

Approaching Dance
Transdisciplinary Methodologies and Modalities of the Moving Body in Performance
The Doctoral Students Association 2017 Conference

Join us for an interdisciplinary conference organized by the Doctoral Theatre Students’ Association (DTSA) interrogating dance scholarship and methodologies. This day-long conference aims to discuss and exchange methodological approaches to dance and to build a network for emerging scholars inside and outside of dance studies. The day will culminate in a public round table discussion with Thomas DeFrantz (Duke), Nadine George-Graves (UCSD), VK Preston (Toronto), Katherine Profeta (Queens College, CUNY), and Paul Scolieri (Barnard), moderated by Erika T. Lin (The Graduate Center, CUNY).

Followed by a performance intervention by The Bureau for the Future of Choreography.

RSVP is required https://goo.gl/forms/FcA4rVPVDIoCZ4vo1

For more information, schedule, and RSVP form for roundtable and performance,
please visit:
http://approachingdance.com

This conference is presented by the Doctoral Theatre Students’ Association (DTSA, GC CUNY), The Martin E. Segal Theatre Center, and The Ph.D. Program in Theatre. With additional support from Marvin Carlson, Sidney E. Cohn Chair in Theatre Studies; David Savran, Vera Mowry Roberts Chair in American Theatre; and the Doctoral Students’ Council.

     

Start: May 11, 2017
End: May 11, 2017
Venue: Segal Theatre
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May 15

50 Years of Theatre of the Ridiculous

Photo courtesy of the artists

Monday, May 15
Segal Theatre

6:30pm Readings + Conversation with Everett Quinton, et al.
+ 5:00pm Screening

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

50 years ago in New York City, the Theatre of the Ridiculous movement as a theatrical genre started in in 1965 with The Play-House of the Ridiculous, the spin-off group The Ridiculous Theatrical Company formed in 1967.

The Theatre of the Ridiculous made a break with the dominant trends in theatre of naturalistic acting and realistic settings and brought elements of queer/camp performance to avant-garde theatre. Cross-gender casting was common, scenarios improvised, and players often recruited from non-professional sources, such as drag queens or other “street stars.” In a reference to Martin Esslin’s concept of a theatre of the absurd, in 1965, Ronald Tavel promoted the first “Ridiculous” performances with the one-line manifesto: “We have passed beyond the absurd: our position is absolutely preposterous.”

With original Theatre of the Ridiculous company members Everett Quinton, Beth Dodye BassJulia Campanelli, Geraldine Dulex, Eureka, Jim Freeman, Chris Johnson, Lenys Sama, Kevin Scullin, and Jenne Vath.

 

Evening Program

6:30pm Excerpted play readings
Conquest of the Universe or When Queens Collide by Charles Ludlam
Turds in Hell by Charles Ludlam and Bill Vehr
Grand Tarot by Charles Ludlam

Afternoon Screening

5:00pm Scenes from the Ridiculous
edited clips from Ridiculous Theatrical Company 60 min

 

Photo courtesy of the artist

Everett Quinton made his stage debut in  the 1976  RIDICULOUS THEATRICAL COMPANY’S production of Charles Ludlam’s CAPRICE.  After that Everett became a member of the company and over 21 years appeared in about 100 productions including:  BLUEBEARD, CAMILLE, TURDS IN HELL, SALAMMBO, and LOVE’S TANGLED WEB among others.  Everett became Artistic Director of the company in 1987 after Charles Ludlam’s untimely passing. Everett is now a freelance actor and director.  He has appeared with The Penguin Rep, RedBull Theater, Yorick Theater, The Arizona Theater Co., The San Jose Rep, to name a few.

 

Start: May 15, 2017
End: May 15, 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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May 22

Classix: A Reading Series Celebrating Classic Plays By Black Playwrights

Alice Childress,Kathleen Collins,Bill Gunn,and Ron Milner. Photo courtesy of the artists

Monday + Tueaday, May 22 +23
Segal Theatre

4:30pm + 6:30pm Readings

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

Please join us as we expand our collective knowledge of the classical canon with an exceptional group directors and actors for this unique series—curated by Awoye Timpo as “an exhibition of rarely seen Black classic plays.” Play readings are followed in the evening by a discussion with the theatre artists involved. Alice Childress, Kathleen Collins, Bill Gunn, and Ron Milner are just four out of a long line of writers whose extraordinary plays were produced in the 20th century. This series celebrates classic plays that feature dynamic characters, extraordinary dialogue, and compelling stories—all written by an eclectic group of Black writers, whose plays speak to their own time in a way that deeply resonates with our own.

Monday, May 22

4:30pm Wine in the Wilderness by Alice Childress
A timeless and thrilling play, Wine in the Wilderness (1969) revolves around a young girl who befriends an artist in the midst of painting his triptych. In this piece Childress explores the depths of Black womanhood.

6:30pm What the Wine-Sellers Buy by Ron Milner
Written in 1974, What the Wine-Sellers Buy was originally produced by Joseph Papp at the New York Shakespeare Festival at Lincoln Center. The play centers around Steve Carlton, a carefree high school student, who wrestles between his dream to become a professional basketball player and the other possibilities in his life.

Tuesday, May 23

4:30pm The Forbidden City by Bill Gunn
Bill Gunn’s final play, The Forbidden City, premiered at New York’s Public Theater in 1989. Set in the 1930s the play reckons with the nature of family and the excesses of love and power.

6:30pm The Brothers by Kathleen Collins
In this memory-drama, Collins weaves together a series of scenes and monologues about black men who “should have been born white’’ because they “spent their entire lives trying to jump out of their skins.’’ The Brothers (1982) was originally produced by the Women’s Project at the American Place Theater.

Playwright, novelist, actor, and screenwriter Alice Childress was a visionary artist. Born was in Charleston, South Carolina in 1916 she later moved to Harlem where she began writing and immersing herself in the vibrant arts scene. Ms. Childress wrote over a dozen plays over the course of her career including Florence, Wedding Band:
A Love/Hate Story in Black and White, Trouble in Mind, Mojo: A Black Love Story, and Wine in the Wilderness. She also wrote the novels Like One of the Family and A Hero Ain’t Nothin’ but a Sandwich which was later turned into a film. A Tony Award nominee for her performance in Anna Lucasta, Ms. Childress was also a tireless advocate for actor union rights.

Photo by Mark Reid

Born in 1942, raised in Jersey City, and educated at Skidmore and the Sorbonne, Kathy Collins was an activist with SNCC during the Civil Rights Movement who went on to carve out a career for herself as a playwright and filmmaker during a time when black women were rarely seen in those roles. She was married twice, and had
two children who she raised in Piermont, New York. She died young, at age 46, from breast cancer. Her most known work is the film Losing Ground, followed perhaps by two plays, In the Midnight Hour, and The Brothers. A never-before released collection of short fiction, Whatever Happened to Interracial Love?, was published by Ecco Press in Fall 2016. kathleencollins.org

Bill Gunn was an extraordinary artistic force with an exceptional body of work across various mediums. He began his career as an actor and appeared on Broadway in The Immoralist and off-Broadway in the classic play Take A Giant Step by Louis Peterson. Several of his plays were produced at the New York Shakespeare Festival
under the leadership of Joseph Papp and include masterpieces such as Black Picture Show, Johnnas, and The Forbidden City. In addition to his extensive work in the theater, Mr. Gunn wrote and directed films including his best-known work Ganja and Hess as well as the film Stop. He is also the author of two novels, All the Rest Have Died and Rhinestone Sharecropping. Bold, inventive, and surprising the work of Bill Gunn is impressively resonant and dynamic as ever.

Ron Milner was a legendary playwright with an extraordinary body of work including the plays Who’s Got His Own, Season’s Reasons, The Warning—A Theme for Linda, Jazz Set, and Roads to the Mountaintop which was a tribute to Dr. Martin Luther King Jr.. Born and raised in Detroit, his work is infused with a rhythmic and regional
authenticity and an uncompromising depth of character. His play Checkmates appeared on Broadway in a production directed by Woodie King Jr. and featuring extraordinary an exceptional cast including Denzel Washington, Ruby Dee, Paul Winfield and Marsha Jackson. Mr. Milner is also the author of the book for the musical Don’t Get God Started, written in collaboration with the Winans family.

Awoye Timpo is a New York-based director. Credits include Sister Son/ji (Billie Holiday Theater), Carnaval (National Black Theatre), Ndebele Funeral (59E59; South African tour; Edinburgh Festival), The Libation Bearers (Shakespeare Theatre NJ), Chasing the Bird (Joyce Theater), Children of the Road (NYU Grad Acting), In the Continuum (Juilliard), Tears of Anatolia (Columbia), Araby (La Mama), Clybourne Park (Farmers Alley), Ruined (WMU), The Vanished (Novisi, site-specific), Rhinoceros (Novisi). Broadway: Assistant Director, Shuffle Along; Associate Director, Jitney. Segal Center: PEN World Voices, Feast (Fall 2016), Other: Page 73, TerraNOVA, Ma-Yi, Royal Shakespeare Company, WNYC, ABC/Disney, Soho Rep Writer/ Director Lab, Cherry Lane Mentor Project, Lincoln Center Directors Lab.

Start: May 22, 2017
End: May 23, 2017
Venue: Segal Theatre
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May 30

Artist talk with Tadashi Suzuki (Japan)

Photo courtesy of the artist

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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