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May 10

Andrzej Wirth: A Century in the Landscape of Theatre

Photo by Antonio M. Storch, 2017, Berlin

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

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

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

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

Start: May 10, 2017
End: May 10, 2017
Venue: Segal Theatre
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May 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
Introduction by Sean F. Edgecomb, College of Staten Island, CUNY
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 Theatre of the Ridiculous company members Everett Quinton, Brian Belovitch, Beth Dodye BassJulia Campanelli, Geraldine Dulex, Eureka, Jim Freeman, Chris Johnson, Lenys Sama, Kevin Scullin, and Jenne Vath.

Evening Program

6:30pm
Introduction by
Sean F. Edgecomb, College of Staten Island, CUNY

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 Tabu Tableaux
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.

Sean F. Edgecomb is Assistant Professor of Theatre in the Department of
Performing and Creative Arts at the College of Staten Island, City University of
New York. He also teaches into the Ph.D program in Theatre and Performance
at the Graduate Center, CUNY. Prior to joining CUNY, he served as the Assistant
Professor of Theatre and the Director of the Bachelor of Creative Arts at The
University of Queensland, Australia. His articles and essays have appeared in
Theatre Journal, Modern Drama, Popular Entertainment Studies, and The Gay and
Lesbian Review Worldwide. He is the author of the forthcoming book Charles
Ludlum Lives! Charles Busch, Bradford Louryk, Taylor Mac, and the Queer Legacy of the Ridiculous Theatrical Company (University of Michigan Press, 2017).

 

 

 

 

 

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

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 (1969)
Directed by Jade King Carroll
Featuring Miriam Hyman, Ruffin Prentiss, Jillian Walker, Charles Weldon, Zenzi Williams

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 (1974)
Directed by Nicole A. Watson
Featuring MaameYaa Boafo, Chakeefe Gordon, Brian D. Coats, Medina Senghore Collie, Suzzanne Douglas,
Trey Santiago, Adam McNulty, Melanie Nichols-King,
Keith Randolph Smith, Count Stovall

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.

Followed by a brief discussion with Woodie King, Jr., Artistic Director of the New Federal Theater.

Tuesday, May 23

4:30pm The Forbidden City by Bill Gunn (1989)
Directed by Awoye Timpo
Featuring Guy Davis, Marchant Davis, Bjorn DuPaty, Rachel Leslie, Doron Mitchell, Lee Aaron Rosen, Allie Woods

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 (1982)
Directed by Seret Scott
Featuring Crystal Dickinson, Chalia La Tour, Margaret Odette, Carra Patterson, Tiffany Rachelle Stewart, Lizan Mitchell, Elizabeth Van Dyke

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.

Followed by a brief discussion with Seret Scott, original cast member, moderated by Crystal A. Dickinson.

 

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
Category:
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May 30

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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September 18

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

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

Start: Sep 18, 2017
End: Sep 18, 2017
Venue: Segal Theatre
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October 4

PRELUDE 2017

Save the Dates! October 4, 5, and 6.

Start: Oct 4, 2017
End: Oct 6, 2017
Venue: Segal Theatre
Cost: Free
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October 12

Thomas Ostermeier (Schaubühne, Berlin)

Thomas Ostermeier (Schaubühne, Berlin)

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

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

The Judaica Project

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

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

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

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

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

Female Voices from Brazil

Start: Nov 6, 2017
End: Nov 6, 2017
Venue: Segal Theatre
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November 13

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
Venue: Segal Theatre
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November 15

Marvin Carlson: 10,000 Nights

Cover art from 10,000 Nights, design by Paula Newcomb

Wednesday, November 15
Segal Theatre
6:30pm

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

“Only Marvin Carlson could have written such a wonderful and engaging theatre history.”
–Erika Fischer-Lichte, Freie Universitat Berlin

Join us for a celebration of Marvin Carlson’s latest book Ten Thousand Nights: Highlights from 50 Years of Theatre-Going. This volume collects an astonishing chronicle of a half-century of theatre-going, in which Carlson recalls 50 memorable productions, out of over 10,000— choosing one from each year spanning from 1960 to 2010. The range of performances covered is wide and represents a history of theatre in itself–edgy experimental productions, theatre classics, mainstream musicals, and street performance. Travel with the author to stages and sidewalks across Paris, Berlin, Moscow, Milan, New York, and elsewhere.

Carlson provides unique insight on what theatre-going meant in each decade, what kind of theatre the zeitgeist produced, and his personal accounts of the productions. These engaging vignettes portray vivid descriptions of productions, venues, and neighborhoods, all told with necessary cultural context—covering significant theatre movements and artists from the late twentieth century to the present. Published by University of Michigan Press.

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Marvin Carlson is the Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies at The Graduate Center, CUNY, and the Director of the Marvin Carlson Theatre Center at the Shanghai Theatre Academy, China. Carlson has a Ph.D. in drama and theatre from Cornell University. His wide-ranging research and teaching interests include dramatic theory and Western European theatre history, dramatic literature, and translation, especially of the eighteenth, nineteenth, and twentieth centuries. He has been awarded the ATHE Career Achievement Award, the George Jean Nathan Prize, the Bernard Hewitt prize, the George Freedley Award, and a Guggenheim Fellowship. He has been a Walker-Ames Professor at the University of Washington, a fellow of the Institute for Advanced Studies at Indiana University, a visiting professor at the Freie Universitat of Berlin, and a Fellow of the American Theatre. In 2005 he was awarded an honorary doctorate by the University of Athens. His best-known book, Theories of the Theatre (1993), has been translated into eight languages. His 2001 book, The Haunted Stage, won the Calloway Prize.

Start: Nov 15, 2017
End: Nov 15, 2017
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November 20

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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November 28

CUNY Stages: CUNY Performing Arts Centers Conference

Tuesday, November 28
Segal Theatre
Conference

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

The mission of CUNY Stages is to organize the resources, talents, and shared goals of the 16 represented performing arts centers throughout the City University of New York (CUNY) system. In so doing, CUNY Stages will facilitate multi-disciplinary artistic collaborations amongst its members that will foster participation and creativity through the integration of the performing arts into campus life and the surrounding communities. CUNY Stages is committed to encouraging and supporting artistic excellence at the local and international level, promoting audience and artist diversity, and providing affordable access to the arts by sharing information and leveraging financial support. CUNY Stages also aims to facilitate an ongoing dialogue between arts practitioners and contemporary scholars who regularly engage with their work.

The CUNY Performance Art Presenter consists of 24 stages on 14 campuses in the Bronx, Brooklyn, Harlem, Manhattan, Queens, and Staten Island. Founded in 1847, CUNY is the largest urban public university in the United States with 23 institutions. Supporting together with SUNY a population of 19,8 million in New York State, CUNY serves more than 270,000 degree-credit students and continuing and professional education students. The university has one of the most diverse student bodies in the United States, with students hailing from 208 countries, but mostly from New York City. The black, white, and Hispanic undergraduate populations each comprise more than a quarter of the student body, and Asian undergraduates make up 18 percent.
Fifty-eight percent are female, and 28 percent are 25 or older

CUNY Stages is an initiative of the Martin E. Segal Theatre Center,
The Graduate Center, CUNY.

Participating campus performing arts centers:

Baruch Performing Arts Center (Baruch College)
Tribeca Performing Arts Center (Borough of Manhattan Community College)
Brooklyn Center for the Performing Arts (Brooklyn College)

Harlem Stage/Aaron Davis Hall (City College)
College of Staten Island Center for the Performing Arts

The Martin E. Segal Theatre Center (The Graduate Center)

Hostos Center for the Arts & Culture (Hostos Community College)
The Kaye Playhouse and the Performing Arts Depts. (Hunter College)

Gerald W. Lynch Theatre (John Jay College )
Leon M. Goldstein Performing Arts Center (Kingsborough Community College)
LaGuardia Performing Arts Center (LaGuardia Community College)

Lehman Center for the Performing Arts (Lehman College)
Medgar Evers College
Selma & Max Kupferberg Center for the Visual & Performing Arts (Queens College)

Queensborough Performing Arts Center (Queensborough Community College)
York College Performing Arts Center

Date: November 28
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December 4

Italian Playwrights Project 2017. Co-presented with Umanism NY

 

Monday, December 4
Segal Theatre
6:30pm

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

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

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

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

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

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

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

  

About the plays:

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

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

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

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

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

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

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

 

Playwrights: 

Photo courtesy of the artist

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

 

 

Photo courtesy of the artist

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

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

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

Photo courtesy of the artist

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

Photo by Luca Fiore

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

 

Directors: 

Photo courtesy of the artist

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

Photo courtesy of the artist

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

Photo by Jim Cox

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

 

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

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

Start: Dec 4, 2017
End: Dec 4, 2017
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December 11

Karen Malpede’s Plays in Time

 

Cover art for Plays in Time by Luba Lukova

Monday, December 11
Segal Theatre
4:30pm Reading + 6:30pm Panel

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

Join us to celebrate the launch of Karen Malpede’s new book, Plays in Time,
honoring twenty-two years of Theater Three Collaborative.

The afternoon will feature the premiere public reading of Malpede’s new play, Other than We–a futuristic Climate-Fiction tragi-comedy for the Anthropocene age.

The evening will present excerpted readings from the anthology Plays in Time published by Intellect, 2017. Readings will include The Beekeeper’s Daughter, Prophecy, Another Life, and Extreme Whether by Theater Three Collaborative actors and contributors to the book: Kathleen Chalfant, Christen Clifford, Najla Said, and George Bartenieff.

Followed by a discussion about Theater Three Collaborative’s antiwar and ecojustice plays in the US and Europe with artists and scholars represented in the book. Panelists include theatre professors Marvin Carlson and Cindy Rosenthal, actor Kathleen Chalfant, and the theater’s founders–George
Bartenieff, and Karen Malpede, moderated by Frank Hentschker. There will be live music by Arthur Rosen.

Karen Malpede, Photo by Ron Morrison

Since their inception in 1995, Theater Three Collaborative has been creating, developing, and producing poetic, character-driven plays on crucial topics of
the day. The group was founded by the late Lee Nagrin, George Bartenieff,
and Karen Malpede to produce Malpede’s play, The Beekeeper’s Daughter. The Collaborative also creates and hosts Festivals of Conscience, talks and talkbacks with public intellectuals, writers, and activists.

Start: Dec 11, 2017
End: Dec 11, 2017
Venue: Segal Theater
Category:
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