Women-American Theatre
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Philadelphia Young Playwrights Launches Paula Vogel Mentors Project
Press Representatives: Canary Promotion | Office: (215) 690-4065 Rose Mineo, [email protected] More info at: http://canarypromo.com/youngplaywrights http://www.phillyyoungplaywrights.org FOR IMMEDIATE RELEASE June 5, 2013 Philadelphia Young Playwrights Launches Paula Vogel Mentors Project Living Honor Extends Legacy of Mentorship to Next Generation of Playwrights PHILADELPHIA (June 5, 2013) — Philadelphia Young Playwrights has kicked off its 25th anniversary celebration by announcing the launch of the Paula Vogel Mentors Project, a living award honoring the Pulitzer Prize-winning playwright and teacher and extending her mentorship legacy. The three-year pilot program will bring together five acclaimed professional playwrights as mentors for five promising young playwright fellows, who will embark on yearlong playwriting journeys. Mentors in the inaugural year of the program are Christina Anderson, Marcus Gardley, Aaron Jafferies, Lucy Thurber and project curator Quiara Alegría Hudes, a Young Playwrights alumna and the first Latina and only Philadelphia public school student to have been awarded the Pulitzer Prize (2012, Water by the Spoonful). The final selection process for the fellows is currently underway as Hudes and Young Playwrights’ Resident Director David O'Connor work together to make this year’s five mentorship pairings, to be announced later in this month. “The power of this multi-generational dialogue and interaction in stimulating and stewarding creativity is undeniable,” says Hudes. “As I find time and again, the authenticity, -
Henley's the Wake of Jamie Foster and the Miss Firecracker Contest
‘SNOW BRIDE’ CAST BIOS PATRICIA RICHARDSON (Maggie Tannenhill) – Patricia Richardson is best known for her portrayal of Jill Taylor on the long running series “Home Improvement” in which she co-starred with Tim Allen. For her work on the series, she received four Emmy® nominations and two Golden Globe® nominations as Outstanding Lead Actress in a Comedy Series. While performing in “Home Improvement,” she also co-hosted the Emmy® Awards with Ellen DeGeneres. In 2009, the cast members of “Home Improvement” received a Fan Favorite Award from the TV Land Awards. She has also received a Vision Award and a Women In Film Award in Texas and commendations from the Prism Awards for her work in the show. For two years, she had a recurring role in “The West Wing” as Sheila Brooks, Sen. Arnold Vinick’s (Alan Alda) chief of staff. She was nominated for an Independent Spirit Award for her role in “Ulee’s Gold,” opposite Peter Fonda and directed by Victor Nunez. Previously, Richardson garnered rave reviews for her portrayal of Marilyn Monroe’s mother in the CBS miniseries “Blonde.” She played twins in “Viva Las Nowhere,” co-starring Danny Stern and James Caan, which was released on video under the title “Dead Simple” and won a Seattle Film Festival Award. She received more great reviews for her role in Lifetime’s “Sophie & the Moonhanger,” co-starring Lynn Whitfield and Jason Bernard and “Undue Influence,” with Brian Dennehy. Other films include “Lost Angels,” “In Country” and “Beautiful Wave.” She was brought out to Los Angeles from New York after several years of doing theater, first by Norman Lear and then Alan Burns, to do three different series prior to “Home Improvement” - “Double Trouble” for Lear and then “Eisenhower and Lutz” and “FM” for Burns. -
Selected Highlights of Women's History
Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S. -
Reframing National Women's History Month: Practicalities and Consequences
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 5-2021 Reframing National Women's History Month: Practicalities and Consequences Skylar Bre’z Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Women's History Commons, and the Women's Studies Commons Recommended Citation Bre’z, Skylar, "Reframing National Women's History Month: Practicalities and Consequences" (2021). Dissertations. 3715. https://scholarworks.wmich.edu/dissertations/3715 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Reframing National Women's History Month: Practicalities and Consequences by Skylar Bre’z A dissertation submitted to the Graduate College in partial fulfillment of the requirements for the degree of Doctor of Philosophy History Western Michigan University May 2021 Doctoral Committee: Edwin A. Martini, Ph.D., Chair Mitch Kachun, Ph.D. Susan Freeman, Ph.D. Reframing Women's History Month: Practicalities and Consequences Skylar Bre’z, Ph.D. Western Michigan University, 2021 This study evaluates the practicalities and consequences of designating one month (March) out of the calendar year for the commemoration of women’s history. In the 1970s and 1980s, national women’s organizations such as the Women’s Action Alliance (WAA) collaborated with the Smithsonian Institute and the Women’s History Program at Sarah Lawrence College to build programs to increase awareness of women’s history. -
Rethinking Complicity and Survival in Paula Vogel's How I Learned to Drive
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 5-8-2020 “SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE Mary Ann Barfield Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Barfield, Mary Ann, "“SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/english_theses/252 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “SHE’S A SLY ONE:” RETHINKING COMPLICITY AND SURVIVAL IN PAULA VOGEL’S HOW I LEARNED TO DRIVE by MARY ANN BARFIELD Under the Direction of Matthew Roudané ABSTRACT In an early 1998 interview, playwright, Paula Vogel, sat in conversation with Arthur Holmberg to discuss the ambivalent victim-perpetrator power dynamics in her critically- acclaimed play, How I Learned to Drive, explaining that “there are two forgivenesses in the play. one forgiveness for Peck, but the most crucial forgiveness would be Li’l Bit’s forgiving Li’l Bit. Li’l Bit as an adult looking at and understanding her complicity.” Since the Holmberg interview, critics have made only passing references to Vogel’s discussion of complicity in play reviews and critical essays. This thesis represents the first sustained engagement with complicity as an ethical subject to argue that Li’l Bit’s dependence upon her uncle for emotional and sometimes physical survival exempts her from moral scrutiny in the course of his abuse. -
For Quiara Alegría Hudes, a Soldier's Story Leads to This Remarkable Feat: 3 Plays on 3 L.A. Stages
For Quiara Alegría Hudes, a soldier's story leads to this remarkable feat: 3 plays on 3 L.A. stages latimes.com/entertainment/arts/la-ca-cm-quiara-alegria-hudes-20180202-story.html By Daryl H. Miller "I’m the griot, I’m the storyteller," Quiara Alegría Hudes says of her role in the sprawling family that inspires her writing. (Katie Falkenberg / Los Angeles Times) Pulitzer Prize-winning playwright Quiara Alegría Hudes learned storytelling among a sprawl of aunts, uncles and cousins. When her mother's talkative Puerto Rican family got together, Hudes not only picked up the art of entertaining an audience with a story, but also accumulated many of the details — and characters — now filling her tales. She learned so well that at just 29 she had her first brush with a Pulitzer. In 2007, she was a drama prize finalist for "Elliot, A Soldier's Fugue," which was inspired by a Marine cousin serving in Iraq during the first days of fighting there. As that story grew into what would become three plays brimming with other family members, she won the 2012 drama Pulitzer for the second tale, "Water by the Spoonful," in which the cousin reacclimates to civilian life after sustaining a grievous leg injury in the war. In between, she was a 2009 finalist with Lin-Manuel Miranda for writing the script to his musical "In the Heights," about life in a vibrant Latin American neighborhood in New York. Her writing for the musical also earned a Tony nomination, and the show was named best musical. -
INTRODUCTION in Her Play the Long Christmas Ride Home, Paula
INTRODUCTION In her play The Long Christmas Ride Home, Paula Vogel creates her own narrative by borrowing metanarratives from existing texts. She uses both the works of Thornton Wilder and Japanese Bunraku Puppet Theater in order to construct a socially and culturally conscious piece of theater. Vogel discusses this use of intertextuality in the preface to The Long Christmas Ride Home. Because she is forthcoming about her use of Thornton Wilder and Bunraku, readers do not challenge the origins from which the narratives and techniques are drawn. However, the playwright does not openly divulge the catalyst behind her collecting of previous narratives. Through the careful analysis of Vogel’s use of Wilder and Bunraku in The Long Christmas Ride Home, the reasons behind her use of these specific plays, genres, and styles, as well as Brecht’s verfremdungseffekt, will be deciphered. In order to utilize The Long Christmas Ride Home as medium for provoking social awareness on behalf of the non-traditional American family, Vogel uses various postmodern theatrical styles and techniques throughout the play. By examining and dissecting both Vogel’s play and the metenarratives within the text we may gain an understanding of the playwright’s reasons for using intertextuality. The concept of postmodernism is multifaceted and there is no official overriding definition of the word; however, this paper will focus on Linda Hutcheon’s description. She calls postmodernism “fundamentally contradictory, resolutely historical, and inexplicably political” (Shirvani 293). Narrowing a concrete description of postmodern drama is specifically challenging because it is often blurred by both modern and avant- garde texts and performances. -
David Rabe's Good for Otto Gets Star Studded Cast with F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perl
David Rabe’s Good for Otto Gets Star Studded Cast With F. Murray Abraham, Ed Harris, Mark Linn-Baker, Amy Madigan, Rhea Perlman and More t2conline.com/david-rabes-good-for-otto-gets-star-studded-cast-with-f-murray-abraham-ed-harris-mark-linn-baker-amy- madigan-rhea-perlman-and-more/ Suzanna January 30, 2018 Bowling F. Murray Abraham (Barnard), Kate Buddeke (Jane), Laura Esterman (Mrs. Garland), Nancy Giles (Marci), Lily Gladstone (Denise), Ed Harris (Dr. Michaels), Charlotte Hope (Mom), Mark Linn- Baker (Timothy), Amy Madigan (Evangeline), Rileigh McDonald (Frannie), Kenny Mellman (Jerome), Maulik Pancholy (Alex), Rhea Perlman (Nora) and Michael Rabe (Jimmy), will lite up the star in the New York premiere of David Rabe’s Good for Otto. Rhea Perlman took over the role of Nora, after Rosie O’Donnell, became ill. Directed by Scott Elliott, this production will play a limited Off-Broadway engagement February 20 – April 1, with Opening Night on Thursday, March 8 at The Pershing Square Signature Center (The Alice Griffin Jewel Box Theatre, 480 West 42nd Street). Through the microcosm of a rural Connecticut mental health center, Tony Award-winning playwright David Rabe conjures a whole American community on the edge. Like their patients and their families, Dr. Michaels (Ed Harris), his colleague Evangeline (Amy Madigan) and the clinic itself teeter between breakdown and survival, wielding dedication and humanity against the cunning, inventive adversary of mental illness, to hold onto the need to fight – and to live. Inspired by a real clinic, Rabe finds humor and compassion in a raft of richly drawn characters adrift in a society and a system stretched beyond capacity. -
The Sixth Act: an Event History
The Sixth Act: An Event History 2004-2005 Academic Workshop: The Sixth Act: A New Drama Initiative This workshop will officially launch The Sixth Act, MCC's new Drama Initiative, so in addition to mocking a rehearsal for Sophocles' Oedipus Rex, we also will talk about the initiative and its goals. Everyone interested in drama--for personal, political, artistic, and/or pedagogical reasons-- is invited! Academic Workshop: Mamet, Harassment, and the Stage The workshop will focus on interdisciplinary approaches to a dramatic text, using David Mamet’s provocative, challenging play Oleanna as a case study. Oleanna, which is widely taught and performed, tells the story of a college student who issues a formal sexual harassment complaint against her college professor. The play is difficult in part because it’s difficult to tell which character is the real victim—raising real questions about different forms of power. More than one version of a key scene will be shown and then a group of MCC colleagues from different academic perspectives will offer insight into the text based on their individual backgrounds. The idea is that a single dramatic text can yield multiple readings, and that we all are better equipped to approach a dramatic text when we have a wider understanding of some of these readings. Academic Workshop: "Unpack My Heart With Words": Using Dramatic Techniques to Understand Shakespeare's Language This interactive workshop will help students, teachers, and drama enthusiasts use performance to interpret the multiple dimensions of Shakespeare's words. Academic Workshop: Stagecraft 101: Understanding the Fundamentals of Design This hands-on workshop will familiarize participants with the language of scenic, sound, lighting, costume, and property design-providing important insight into practical as well as metaphoric applications of the stage. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
From the Gilded Age to the Jazz Age: the Formation of Modern American Culture, 1877-1929"
Syllabus HIS 373H "From the Gilded Age to the Jazz Age: The Formation of Modern American Culture, 1877-1929" University of Toronto at Mississauga, Fall 2002 Mondays, 3 - 5 p.m., NB room 144 Prof. Elspeth Brown Office Hours: office: North Building, rm. 249 office hours: M, 12:00 - 3:00 and by appt. phone: 905-828-3749 email: mailto:[email protected] This course examines the major social, political, and cultural developments of American society from the end of Reconstruction to the stock market crash of 1929. Specific topics to be covered include: the rise of mass culture; the growth of the corporation; labor politics; the rise of Jim Crow; Progressive Era reforms; WWI; woman suffrage; the Harlem Renaissance; and the "roaring" 1920s. We will explore the relationship between society and culture, with a view towards understanding how language and representation both mediate and construct social and political transformations. Along the way, we will see how specific groups of Americans, such as black middle class reformers, the white middle class, African- American workers, Mexican and Lithuanian immigrants, and feminists worked with available social and political tools to transform American society and culture. Course Format: The course is a combination of lecture and discussion. In the first hour, I will lecture on a topic related to the reading. In the second hour, we will have a discussion of the assigned readings, which may sometimes result in me delivering small mini-lectures. On the whole, though, during this second hour I will be asking you for your analysis and interpretation of the material; your intellect and hard work will carry the class. -
Architecture As Social Reform In
FEMINIST APPLEPIEVILLE: ARCHITECTURE AS SOCIAL REFORM IN CHARLOTTE PERKINS GILMAN’S FICTION _______________________________________________________________ A thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia __________________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts __________________________________ by MARY McPHERSON DAVIS Dr. Nancy West, Thesis Advisor MAY 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled FEMINIST APPLEPIEVILLE: ARCHITECTURE AS SOCIAL REFORM IN CHARLOTTE PERKINS GILMANS FICTION Presented by Mary Davis, A candidate for the degree of Master of English Literature, And hereby certify that, in their opinion, it is worthy of acceptance. ______________________________ Nancy West ______________________________ Patricia Okker ______________________________ Keith Eggner Thanks to Mum, Deanna, Jessie, Stu and Bill for all your encouragement and kindness. ACKNOWLEDGMENTS A great thanks to my advisor, Nancy West, who was ever so helpful, inspiring, patient, and stern, when necessary. Also, I am very grateful to my other committee members, Pat Okker and Keith Eggener. I am beholden to my mother, Polly Aird, and to Bill Kerwin who read and reread for me. - ii - TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………….ii LIST OF ILLUSTRATIONS……………………………………………………………..iv INTRODUCTION………………………………………………………………………...1 Section 1 1. GILMAN’S BIOGRAPHY AND MOTIVATIONS FOR WORLD IMPROVEMENT……………………………………………………………3