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April 28, 2017

The 2017 Edwin Booth Award: Taylor Mac

Taylor Mac by Teddy Wolff. Photo courtesy of artist.

Friday, April 28
Proshanksy Auditorium

7:00pm

CLICK HERE FOR LIVESTREAM

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
Category:
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May 11, 2017

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, 2017

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 22, 2017

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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October 4, 2017

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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November 13, 2017

Roy Cohn/Jack Smith: Remembering Ron Vawter

Photo by Paula Court

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

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

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

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

Photo courtesy of the artist

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

Start: Nov 13, 2017
End: Nov 13, 2017
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November 15, 2017

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.

Photo courtesy of the artist

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 28, 2017

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, 2017
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December 11, 2017

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
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December 18, 2017

Celebrating the Life and Work of Trisha Brown

Photo © Marc Ginot

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

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

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

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

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

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

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

Text by Susan Rosenberg, 2017.

Schedule:

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

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

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

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

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

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

 

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

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

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

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

Photo courtesy of the artist

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

About the films:

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

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

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

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

Courtesy of Trisha Brown Archive

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

Segal Center Film Festival on Theatre and Performance 2018

Segal Center Film Festival on Theatre and Performance 2018

Start: Mar 1, 2018
End: Mar 3, 2018
Category:
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March 12

The Written World with Martin Puchner

Saint John the Evangelist by Pompeo Batoni. Cover of The Written World: The Power of Stories to Shape People, History, Civilization.

 

 

Monday, March 12
Segal Theatre
6:00pm Readings + Discussion

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

Martin Puchner takes us on a remarkable journey around the world to reveal how over 4,000 years of story-telling and literature have shaped history and civilization. The Segal evening will feature readings from The Epic of Gilgamesh, The Odyssey, Diamond Sutra, Popol Vuh, One Thousand and One Nights, The Tale of Genji, Goethe’s Conversations with Johann Peter Eckermann, and Akhmatova’s Requiem with introductions by Martin Puchner. Eylül Fidan Akıncı, Stefano Boselli, Shane Breaux, Marvin Carlson, Tom Keever, Cory Tamler, Angie Tennant, and Alisa Zhulina will read the texts. Followed by a discussion with Martin Puchner, Frank Hentschker, and others.

Photo by Gretjen Helene

Martin Puchner is the Byron and Anita Wien Professor of Drama and of English and Comparative Literature at Harvard University. His prizewinning books cover subjects from philosophy to the arts, his bestelling six-volume Norton Anthology of World Literature, and his HarvardX MOOC (massive open online course) have brought four thousand years of literature to students across the globe. The Written World: The Power of Stories to Shape People, History, Civilization was published by Penguin Random House LLC in 2017.

 

Start: Mar 12, 2018
End: Mar 12, 2018
Venue: Segal Theatre
Category:
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March 23

The 2018 Edwin Booth Award: Young Jean Lee

Photo by Blaine Davis

****Due to winter storm forecast, the evening has been rescheduled to Friday, March 23****
Friday, March 23
Segal Theatre
6:30pm Award Ceremony

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

The Doctoral Theatre Students’ Association presents the 2018 Edwin Booth Award to New York writer, director, and filmmaker Young Jean Lee. 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.

Young Jean Lee has written and directed ten shows in New York. Her short films have been presented at The Locarno International Film Festival, Sundance Film Festival, and BAMcinemaFest. Young Jean Lee’s Theater Company has toured her work to over thirty cities around the world. Named as “the most adventurous downtown playwright of her generation” by The New York Times, Lee has received two OBIE Awards, a Prize in Literature from the American Academy of Arts and Letters, a PEN Literary Award, a Doris Duke Performing Artist Award, among numerous other fellowships. A presentation workshop of Songs of the Dragons Flying to Heaven was first shown at PRELUDE 2005.

The award ceremony features an interview with Young Jean Lee by Chloë Rae Edmonson; speeches and performance by Doctoral Students Jessica Adam, Kyueun Kim, Ash Marinaccio, Nina Angela Mercer, Hansol Oh, Alison Walls, and Jennie Youssef; as well as a special performance by Diana Oh and Matt Park.

Presented in collaboration with the DTSA Second Vice President Hansol Oh, with additional support from Sidney E. Cohn Chair Distinguished Professor Marvin Carlson, Vera Mowry Roberts Chair Distinguished Professor David Savran, Lucille Lortel Chair Professor Jean Graham-Jones, and the Martin E. Segal Theatre Center.

Past Honorees:

2017 – Taylor Mac
2016 – Reverend Billy and the Stop Shopping Choir
2015 – María Irene Fornés
2014 – Elevator Repair Service
2013 – Woodie King Jr.
2012 – Split Britches
2011 – Stephen Sondheim
2010 – Charles Mee
2009 – Judith Malina
2008 – Karen Finley
2007 – Mabou Mines
2006 – HERE Arts Center
2005 – Paula Vogel
2004 – The Classical Theatre of Harlem
2003 – The New York Theatre Workshop
2002 – Tony Kushner
2001 – Anne Bogart and The S.I.T.I. Company
2000 – Performance Space 122
1999 – Dixon Place
1998 – Hal Prince
1997 – Richard Foreman
1996 – The Brooklyn Academy of Music
1995 – Anne Hamburger and En Garde Arts
1994 – JoAnne Akalaitis
1993 – The Wooster Group
1992 – Arthur Miller
1991 – Al Hirschfeld
1990 – Robert Whitehead
1989 – Joseph Papp and the New York Shakespeare Festival
1988 – The Ridiculous Theatrical Company
1987 – Joseph Chaiken
1986 – Stanley Kauffmann
1985 – The Negro Ensemble Company
1984 – Ellen Stewart
1983 – The Royal Shakespeare Company

 

Start: Mar 23, 2018
End: Mar 23, 2018
Venue: Segal Theatre
Category:
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April 2

A Day with Meredith Monk

Meredith Monk directing Book of Days. Photo by Dominique Lasseur

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

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

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

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

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

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

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

 

About the films:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Start: Apr 2, 2018
End: Apr 2, 2018
Venue: Segal Theatre
Category:
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May 2

Lincoln Center Theater Directors Lab with Anne Cattaneo

2017 Directors Lab. Photo by Joan Marcus.

Wednesday, May 2
Segal Theatre
6:30pm Discussions

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

Join us to discover and celebrate the astounding work and legacy of the Lincoln Center Theater Directors Lab, an international developmental program for emerging directors from many theatrical traditions. Since the inaugural lab in 1995, the LCT Directors Lab has nurtured the talents of over 1,500 emerging directors from around the world through workshops, shared sessions, rehearsals, and discussions with master artists under the leadership of dramaturg Anne Cattaneo. Anne Cattaneo and members of previous Labs will discuss the intensive investigation of their craft and the collaborative relationships developed through the program. A discussion with past and present Directors Lab collaborators.

Start: May 2, 2018
End: May 2, 2018
Venue: Segal Theatre
Category:
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May 10

Objects of Study: Methods and Materiality in Theatre and Performance Studies

Thursday, May 10th
Segal Theatre
7:30pm Performance, 5:00pm Roundtable + All Day Conference

FREE + Open to public. Please RSVP.

The multiple potential meanings of “object” within theatre and performance studies point to questions about the relationship between knowledge and materiality. With this conference, we issue a challenge to the common understanding of scholarly work as focused on an “object of study.” We seek to destabilize the terms “object” and “study” to explore how the ways in which we conceive of objects and materiality might influence the framework of our discipline. Are we, as scholars, engaging in acts of objectification? How do the objects also act upon us?

This student conference is organized by the Doctoral Theatre Students’ Association and will host working groups of emerging scholars during the day, followed by a roundtable with Katherine Behar (Baruch College, CUNY), Maaike Bleeker (Utrecht University, Netherlands), Rebecca Schneider (Brown University), Soyoung Yoon (The New School), and a performance by Larissa Velez Jackson (LVJ Performance Co.).

For more information, please visit the webpage: cuny.is/objects

This event will take place thanks to the generous support of Sidney E. Cohn Chair Distinguished Professor Marvin Carlson, Vera Mowry Roberts Chair Distinguished Professor David Savran, Lucille Lortel Chair Professor Jean Graham-Jones, the Ph.D. Program in Theatre, Martin E. Segal Theatre Center, The Center for the Humanities, and The Doctoral Students’ Council.

DTSA Conference Committee: Eylül Fidan Akıncı, Amir Farjoun, Sarah Lucie, Christine Snyder, and Cory Tamler.

Date: May 10
Venue: Segal Theatre
Category:
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May 21

Hilton Als “Andy Warhol: The Series”

 

Left: Hilton Als, photo by Brigitte Lacombe.          Right: John Jesurun, photo by Paula Court.

Monday, May 21
Segal Theatre
5:00pm Staged Reading

No Reservations. SEATING EXTREMELY LIMITED.

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

Originally written for television, Hilton Als’s Andy Warhol: The Series draws on historical accounts, rumors, and artwork to tell the story of the artist’s childhood, career, and fascination with Hollywood. The series is from the point of view of significant women in Warhol’s life–his mother and Shirley Temple. This evening will present the premiere reading, directed by New York-based director John Jesurun. Co-produced by Claire Montgomery and Alsun Keogh/Location One.

Hilton Als became a staff writer at The New Yorker in 1994 and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. His first book The Women was published in 1996. His most recent book White Girls, a finalist for the National Book Critics Circle Award and the winner of the Lambda Literary Award in 2014, discusses various narratives of race and gender. In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for creative writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2016, he received Lambda Literary’s Trustee Award for Excellence in Literature. He won the Pulitzer Prize for Criticism in 2017.

John Jesurun is a writer/director/media artist. Beginning with his 61 episode “Chang in a Void Moon” in 1982, his projects range from “Philoktetes”and “Faust” to “Delusion of the Fury” by Harry Partch and video for Jeff Buckley. Fellowships include Rockefeller, MacArthur, Guggenheim and Foundation for Contemporary Arts. His “Shatterhand Massacree and other Media Texts” is published by Performing Arts Journal. His webserial “Shadowland” can be seen on Vimeo.

Start: May 21, 2018
End: May 21, 2018
Venue: Segal Theatre
Category:
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May 24

Puerto Rico: Theatre after Hurricane María

Photo by Ryan Miller/Capture Imaging

Thursday, May 24
Segal Theatre
6:30pm Panel

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

Inspired by the tragic events and continued inaction in Puerto Rico, the Segal Center invites theatre and performance artists from Puerto Rico to speak about their artistic practices and how these have been impacted by Hurricane María. The evening will feature presentations, demonstrations, as well as an open forum to discuss the current state of performance and politics on the island. Invited artists and panelists include: Isel Rodríguez (Teatro Breve), Helen Ceballos (Mezcolanza), Kairiana Núñez (Mezcolanza), Mickey Negrón (Mezcolanza), and Libertad Guerra (Loisaida Center). The event will be moderated by Bertie Ferdman.

To see these artists performing, check out the 5th Annual 2018 Loisaida Festival:
Sunday, May 27 | 12:00pm – 5:00pm
La Plaza Cultural Community Graden
Loisaida Inc. and  Mezcolanza NYC present The Loisaida Festival’s Theater Lab, as part of the annual Loisaida Festival. Among the highlights of the program is the New York premiere of ¡Ay María!, a play that explores the post-Maria reality for an isolated group of neighbors in Puerto Rico that must come together after the storm.

 

Photo courtesy of the artist

Helen Ceballos studied at the University of Puerto Rico and the National University of Art in Buenos Aires. She created Mezcolanza, a hybrid and multidisciplinary arts collaborative with artists from the United States, Latin America, and the Caribbean. Helen directs the House of Culture Ruth Hernández Torres and chairs the board of the Casa de Mujer Dominicana in Puerto Rico.

 

 

 

Photo courtesy of the artist

Libertad O. Guerra is the Acting Director and Chief Curator of the Loisaida Inc. Center. Her publications include essays in The Journal of Aesthetics and Protest and in the edited volume New York-Berlin: Kulturen in der Stadt. In 2015, she organized ¡Presente! The Young Lords in New York at Loisaida Inc. Cultural Center.

 

 

 

Photo courtesy of the artist

Mickey Negrón trained at the University of Puerto Rico and has performed across the Americas, including collaborations with Rosa Luisa Márquez, Nao Bustamante, Guillermo Gomez Peña/La Pocha Nostra, Jóvenes del 98, Malayerba, and Yuyachkani. He is the Artistic Director of Asuntos Efímeros and curator of Quiebre: International Performance Festival in San Juan Puerto Rico.

 

 

 

Photo courtesy of the artist

Isel Rodríguez is a member of the comedy collective, Teatro Breve, where she created Luna y Vecky—a hipster band that play hilariously irreverent-but-catchy songs, and Las monjas del cannabis, a pair of marijuana-dealing nuns. She has a Ph.D. in Theatre and Performance from ASU, an M.A. in Theatre Education from NYU, and teaches theatre in the Drama and English Departments at the University of Puerto Rico.

 

 

Photo courtesy of the artist

Kairiana Núñez Santaliz has a BA from University of Puerto Rico (UPR) and has studied acting in Latin American and the Caribbean. Her work centers on themes of death, autobiography, colonialism, the situation in Puerto Rico, dogs, and dreams, among others. She always uses humor and poetry as active agents in her creative process.

 

 

 

Start: May 24, 2018
End: May 24, 2018
Venue: Segal Theatre
Category:
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October 29

Black Acting Methods with Sharrell D. Luckett

Cover of Black Acting Methods Critical Approaches.

Monday, October 29
Segal Theatre
6:30pm Discussion + Afternoon  Interactive Seminar

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

Celebrating the recent publication of Black Acting Methods: Critical Approaches (Routledge 2017),
Dr. Sharrell D. Luckett will host a conversation with fellow theatre teachers, researchers, and makers, Kashi Johnson and Jonathan Mathias Lassiter, concerning the decolonization of acting methods and pedagogies. While recent conversations tend to focus on norms of representation, this event seeks to explore the myriad eurocentric assumptions that are at play in the formative process of acting, and to present alternatives that stem from African legacies, sensibilities, and experiences. In addition to the public conversation, a closed session for interested actors will take place during the afternoon. registration to the session is now closed.

 

Photo courtesy of the artist

Sharrell D. Luckett, Ph.D. is Director of the Weinberger Center for Drama and Playwriting and Assistant Professor of Drama and Performance Studies at the University of Cincinnati. She is lead editor of the award-winning Black Acting Methods: Critical Approaches (2017), and author of YoungGiftedandFat: An Autoethnography of Size, Sexuality, & Privilege (2018). In addition to working as a dramaturg, playwright, and actress, Luckett has directed Topdog/Underdog by Suzan-Lori Parks, for colored girls… by Ntozake Shange, Oedipus Rex by Sophocles, Ruined by Lynn Nottage, and Dreamgirls by Krieger & Eyan, among others. She is founding Director of the Black Acting Methods® Studio, a training program in performance theory and practice.

Photo courtesy of the artist

Kashi Johnson is Professor of Theatre at Lehigh University where she teaches acting courses and Hip Hop theatre. In addition to being a director and actress, Johnson is a pioneer and innovator in Hip Hop Theatre pedagogy. She has given talks about her cutting-edge Hip Hop Theatre course ‘Act Like You Know,’ for TEDx and BlackademicsTV. She has also published on the topic in Black Acting Methods: Critical Approaches, and authored a chapter on her pedagogy in the forthcoming Routledge Companion to African American Theatre and Performance.

 

Photo courtesy of the artist

Jonathan Mathias Lassiter, Ph.D. is a polymath who utilizes psychology, writing, and dance to help others heal and thrive. His roles include licensed clinical health psychologist, professor, author, movement scientist, and highly sought-after public speaker. Dr. Lassiter is the award-winning co-editor (with Dr. Lourdes D. Follins) of Black LGBT Health in the United States: The Intersection of Race, Gender, and Sexual Orientation. This book received the Gay and Lesbian Medical Association’s Achievement Award in 2017 and is the first and only text to focus solely on Black LGBT Americans health. This summer he started work on his first sole-authored book that will explore contemporary issues of race and mental health in the United States. In addition, Dr. Lassiter has published numerous articles in academic journals and lay publications, presented his choreographic work in prestigious showcases in New York City, and provided psychotherapy to clients in medical centers across the country. Currently, Dr. Lassiter is Assistant Professor of Psychology at Muhlenberg College and Visiting Assistant Professor of Medicine at University of California, San Francisco.

With additional support from the Helen Weinberger Center for Drama and Playwriting, University of Cincinnati.

Start: Oct 29, 2018
End: Oct 29, 2018
Venue: Segal Theatre
Category:
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