DOCSLIB.ORG

Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa Through Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa Through Theatre ANGELS IN SOUTH AFRICA: EXPLORING MODERN PROGRESSIVE AND QUEER REALITIES IN SOUTH AFRICA THROUGH THEATRE by Vasti Vermeulen Submitted in partial fulfilment of the requirements for the degree MA (Drama and Film Studies) in the Department of Drama Faculty of Humanities UNIVERSITY OF PRETORIA Greg Homann (main supervisor) Marie-Heleen Coetzee (co-supervisor) September 2018 Summary Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa through Theatre by Vasti Vermeulen Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa through Theatre is a thesis based on the development of the South African experimental play, Angels in South Africa. The play is a reimagination of Tony Kushner’s Angels in America: Millennium Approaches and Angels in America: Perestroika in a South African setting. The play explores the marginalised narratives of a postcolonial South African landscape and focusses on issues of sexuality, race, gender, physical illness (with specific reference to HIV and AIDS), and mental illness. The objective of the play is to redeem narratives that adhere to these themes – and by redemption, it is meant that one voices these narratives in order to understand their value in present realities. The landscape is described as postcolonial – a state in which colonial histories still affect present realities on the landscape – post-apartheid and post-reconciliation dystopia. In Angels in South Africa (Vermeulen, 2016), I created a fictional, futuristic post-apocalyptic South African landscape that can best be described as a landfill. The play adheres to Landscape Theatre and Magic Realism. Landscape Theatre is a paradigm in which a play is mapped out as a landscape or, in the case of the research, as a landscape consisting of multiple landscapes. I used Magic Realism in order to create a space in which the boundaries between fiction and non-fiction can be blurred. The play is described as a constellation of images – ideas, thoughts, visual images, writings and events – making meaning in relation to one another. Even the actors are described as thought images – I refer to them as “Performing Denkbilder” and I refer to the constellation through which the play is created as the “Progress-Queer Constellation”. The theory used consists mainly of notions around Historical Materialism as described in Benjamin’s (1926) Theses on History, and Queer Theory as described in Halberstam’s (2011) The Queer Art of Failure. To be a Historical Materialist is to view present events as being connected to past events. The past is defined as an image to be retrieved from the ruins of time, in order to create a better lens of the present. To retrieve this image is to go against notions of linear progression, which is described in the research as Capitalistic Progression. Halberstam (2011:89) defines the notion of being queer as to have, either through circumstance or by design, failed normative capitalistic notions on creating one’s lifestyle. The research marries the notion of being queer with that of being a Historical Materialist. The research also argues that it is necessary to deviate from capitalistic, linear progressive means of structuring one’s lifestyle in order to voice the landscape’s marginalised histories. The notion is to create an environment in which newer realities can be created, instead of repeating past oppression. DECLARATION Student number: 11014459 I declare that Angels In South Africa: Exploring Modern Progressive and Queer Realities in South Africa through Theatre is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Vasti Vermeulen 30 September 2018 Acknowledgement I would like to include a few individuals in my thanks, for their support and guidance in the completion of this research. Greg Homann, for giving shape and understanding to my work. Prof. Marie-Heleen Coetzee, for your brilliance. Dr M Taub, for patience, understanding, and the extra effort. Wilf Carter Mahne and Tebogo Charles Mafubelu, for taking on extra duties in the making of the performances. Karin Stals and PC Vermeulen, for financial and moral support. Mareo Roelofse, for insight and creative input. The cast of Angels in South Africa (Vermeulen, 2016). The Drama Department at the University of Pretoria, for opportunities to expand on my research. Thank you Table of Contents List of Figures ..................................................................................................................... 8 List of Diagrams ................................................................................................................. 8 Chapter 1: Introduction ...................................................................................................... 9 1.1. Introducing Mental Illness as a Marginalised Narrative ......................................... 14 1.2. Dissertation Statement .......................................................................................... 16 1.3. Kushner’s Texts (1991, 1993)................................................................................ 17 1.3.1. Summary of Kushner’s Texts (1991, 1993) ..................................................... 17 1.3.2. The Angel........................................................................................................ 19 1.4. The Research Question ......................................................................................... 21 1.5. A Landscape of Fragments.................................................................................... 23 Chapter 2: Literature Review ........................................................................................... 24 2.1. Postcolonialism ........................................................................................................ 24 2.2. Henriette Gunkel: A Study of Different Bodies ......................................................... 28 2.3. Walter Benjamin: Progress and Historical Materialism ............................................. 30 2.4. Sigfrid Weigel: Denkbilder ........................................................................................ 31 2.5. Queerness ............................................................................................................... 32 2.6. David Savran and Ranen Omer-Sherman: Ambivalence, Identity and Marginalisation in Kushner’s (1991, 1993) Texts ..................................................................................... 34 2.7. Rhizomatic Identity ................................................................................................... 36 2.8. Magic Realism.......................................................................................................... 37 2.9. Landscape Theatre .................................................................................................. 39 2.10. The Actor’s Body as Denkbild ................................................................................ 41 2.11. Understanding Kushner’s (1991, 1993) Texts: James Fisher ................................ 42 2.12. Diagram of Theory Involved ................................................................................... 44 2.13. Moving Forward ..................................................................................................... 45 Chapter 3: The New Work ................................................................................................ 46 3.1. History of the Work ................................................................................................... 46 3.1.1. The Two Narrators ............................................................................................. 47 3.1.2. Magic Realism ................................................................................................... 50 3.1.3. The Three Methodologies .................................................................................. 51 3.1.4. “Performed Denkbilder” ..................................................................................... 53 3.1.5. The “Reproductive-Reflexive-Redemptive” Triad ............................................... 54 3.2. Concluding Phase 1 ................................................................................................. 58 Chapter 4: The Pretext ..................................................................................................... 60 4.1. Guiding Process ....................................................................................................... 60 4.1.1. Monuments as Memorials: An Archive of Memories, Remembered .................. 61 4.1.2. A New Work....................................................................................................... 62 4.2. Character and Narrative Construction ...................................................................... 63 4.2.1. Dynamic Remaking of a Landscape .................................................................. 63 4.2.2. Reimagining Identity .......................................................................................... 64 4.2.3. Harper and Patience .......................................................................................... 65 4.2.4. The Angels ........................................................................................................ 75 4.2.5. Writers ..............................................................................................................
Load more

Recommended publications
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Undergraduate Play Reading List
    UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
    [Show full text]
  • Clybourne Park Study Guide
    Clybourne Park Study Guide The Theatre/Dance Department’s production oF Clybourne Park can be seen December 2 – 7 at 7:30 pm in Barnett Theatre. Tickets 262-472-2222 Monday – Friday 9:30 am – 5:00 pm The Clybourne Park Study Guide was originally created by Studio 180 Theatre, Toronto, Canada, and is being used at UW-Whitewater with Studio 180 Theatre’s permission. www.studio180theatre.com Table of Contents A. Notes for Teachers ...................................................................................................................... 3 B. Introduction to the Company and the Play .................................................................................. 4 UW-Whitewater Theatre/Dance Department .......................................................................................................... 4 Clybourne Park by Bruce Norris ..................................................................................................................................... 5 Bruce Norris – Playwright ................................................................................................................................................. 6 C. Attending the Performance ......................................................................................................... 7 D. Background Information ............................................................................................................. 8 1. Source Material: A Raisin in the Sun by Lorraine Hansberry .......................................................................
    [Show full text]
  • Community in August Wilson and Tony Kushner
    FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay.
    [Show full text]
  • Multiculturalism and Transnational Formations in Tony Kushner's
    Multiculturalism and Transnational Formations in Tony Kushner’s Angels in America Yvonne Iden Ngwa Higher Teacher Training School. (ENS) Yaoundé [email protected] Resum Multiculturalisme i formacions transnacionals a Angels in America de Tony Kushner En aquest article es vol demostrar que la representació del multiculturalisme ambient a Amèrica vist per Tony Kushner és palesa a la seva obra Angels in America a través de formacions transnacionals. La seva especificitat rau en el fet de recórrer els diferents aspectes del multiculturalisme. Les teories postcolonials i postmodernes posen de relleu l’heterogeneïtat que caracteritza les cultures a l’obra i justifiquen el multiculturalisme i el transnacionalisme. Paraules clau Multiculturalisme, formacions transnacionals, Tony Kushner. Resumen Multiculturalismo y formaciones transnacionales en Angels in America de Tony Kushner En este artículo, se quiere demostrar que la representación del multiculturalismo ambiente en América por Tony Kushner desemboca en formaciones transnacionales en su obra Angels in America. Lo que hace su especificidad es que recorre los distintos aspectos del multiculturalismo. Las teorías postcoloniales y postmodernas ponen de relieve la heterogeneidad que caracteriza las culturas en la obra y justifican el multiculturalismo y el transnacionalismo. Palabras clave Multiculturalismo, formaciones transnacionales, Tony Kushner. Résumé Multiculturalisme et formations transnationales dans Angels in America de Tony Kushner Dans cet article, on veut montrer que la représentation du multiculturalisme ambiant de l’Amérique par Tony Kushner aboutit à des formations transnationales dans sa pièce Angels in America. Contrairement aux autres articles qui décrivent généralement le multiculturalisme dont regorge la pièce, celui-ci s’intéresse aux différents contours de ce multiculturalisme ainsi qu’aux formations transnationales qui en découlent.
    [Show full text]
  • Joseph Riddle As Hugo Huebener and Blameinim Sundrud
    joseph riddle as hugo huebener and blameblainebiame sundrud as the interroga- tor the BYU theatre production of thomas F Rogrogerssrogergserss huebener directed by ivan croslindcroslendCroslend 1992 whither mormon drama look first to a theatre we need drama that looks with clear eyes at the mormon world while occasionally seeing beyond to celestial glory but such a drama would require a subsidized theatre to nurture it eric samuelsen the history of latter day saint involvement in the fine and performing arts is long and distinguished while american puritanism was almost unanimous in its rejection of the stage particularly in new england bothjoseph smith and brigham young held remark- ably enlightened views of dramatic art nauvoo boasted a small hall called the fun house which was used for performances and the lower room ofnauvoosnauvoosof Nauvoos masonic hall was likewise used as a stage 1 brigham young often mentioned church opposition to pastimes and amusements as a distinguishing feature of the apostate protes- tant tradition of his youth 2 brother brigham was a great fan of the theatre even appearing in thomas A lynes nauvoo production of a popular melodrama of the day august von kotzebuesKotzebues pizzaro 1 president youngs support for the theatre led to the 1861 62 con- structionst of the salt lake theatre one of the most important the- aters of the period in the american west and of course church presidents ever since have strongly supported various kinds of youth theatre road shows pageants drama festivals and other slinsim-sirn
    [Show full text]
  • Cast Biographies Chris Mann
    CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s).
    [Show full text]
  • Tony Kushner's Angels in America Or How American History Spins Forward
    Tony Kushner’s Angels in America or How American History Spins Forward Alfonso Ceballos Muñoz Universidad de Cádiz [email protected] Abstract Angels in America’s roaring success represents a real turning point in mainstream American drama. This article explores both Kushner’s treatment of history— particularly American history—and the ingredients which compound the melting pot American society had become in the 1980s. Through the specific situations the characters undergo in both Millennium Approaches and Perestroika, the playwright exposes his own Brechtian and neo-Hegelian vision of current events. Kushner deliberately recycles traditional American myths and elements of American culture and pins them all on a reconstruction of identity—whether gender, racial, or political—as the real axes of his plays. By making gay characters lead the plays, and by including obvious religious elements from an apocalyptic literary style, political discussions on Reagan’s policy on AIDS, and reminiscent historical images, Angels in America becomes a revision of the new National Period America is living as the promised land which every single individual re-creates with her/his daily efforts and capabilities. “The people look skyward seeking aid from above, and the Angel of History appears on the horizon his eyes staring, mouth open and wings spread, while human catastrophes are hurled before his feet”. Walter Benjamin, “Theses on the Philosophy of History”. “History is a ribbon, always unfurling; history is a journey. And as we continue our journey, we think of those who travelled before us”. Ronald Reagan’s Second Inaugural Address. January 21, 1985 “We won’t die secret deaths anymore.
    [Show full text]
  • Biographical Description for the Historymakers® Video Oral History with Billy Porter
    Biographical Description for The HistoryMakers® Video Oral History with Billy Porter PERSON Porter, Billy Alternative Names: Billy Porter; Life Dates: September 21, 1969- Place of Birth: Pittsburgh, Pennsylvania, USA Residence: New York, NY Work: Los Angeles, CA Occupations: Actor Biographical Note Actor Billy Porter was born on September 21, 1969 in Pittsburgh, Pennsylvania, and raised by his mother, Cloerinda Ford. Porter attended Taylor Allderdice High School in Pittsburgh, as well as the Pittsburgh School for the Creative and Performing Arts, where he studied acting, music, and dance. He later attended Carnegie Mellon University’s School of Drama in Pittsburgh, graduating in 1991. In 1991, Porter was cast in the ensemble of Miss Saigon, which won three Tony Awards and became one of the longest-running shows in Broadway history. Throughout the 1990s, he continued to appear in Broadway musicals, including Five Guys Named Moe, Smokey Joe’s Café, and the 1994 revival of Grease, in which he played Teen Angel. Porter pursued a career in the music industry, winning the 1992 season of the talent competition Star Search and releasing a self- titled R&B album in 1997 with A&M Records. Starting in 2000, he took a hiatus from acting on Broadway to direct productions like the music revue Being Alive at the Suzanne Roberts Theatre in Philadelphia, Pennsylvania, the Los Angeles staging of Once on This Island, and a revival of George C. Wolfe’s play, The Colored Museum. Porter wrote the solo performance piece Ghetto Superstar, which he debuted in 2005 at New York City’s Public Theatre.
    [Show full text]
  • Topdog Underdog”
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2020 Scenic Design for “Topdog Underdog” Austin Aschbrenner University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Other Theatre and Performance Studies Commons Citation Aschbrenner, A. (2020). Scenic Design for “Topdog Underdog”. Theses and Dissertations Retrieved from https://scholarworks.uark.edu/etd/3761 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. Scenic Design for “Topdog Underdog” A thesis submitted in partial fulfillment Of the requirements of the degree of Master of Fine Arts in Scenic Design by Austin Aschbrenner Northwestern State University Bachelor of Science in Theatre, 2016 July 2020 University of Arkansas This thesis is approved for recommendation to the Graduate Council. Michael Riha, M.F.A. Thesis Director Weston Wilkerson, M.F.A. Shawn Irish, M.F.A. Committee Member Committee Member Abstract The 2019 production of Topdog/Underdog by Suzan-Lori Parks at the University of Arkansas was produced with a guest director who, throughout the process of the production, experimented with the typical perception of the Pulitzer Prize winning play and added conceptual spins to help open the eyes of the mostly small town and rural based audience. This thesis will explore the various elements of this particular production and which of these elements contributed to exploring the depths of Topdog/Underdog. This document will analyze the design process of the University of Arkansas’s production of Topdog/Underdog, and will analyze specific design choices which were chosen to engender a specific audience response based upon observed audience commentary.
    [Show full text]
  • Kennedy Center Education Department. Funding Also Play, the Booklet Presents a Description of the Prinipal Characters Mormons
    DOCUMENT RESUME ED 381 835 CS 508 902 AUTHOR Carr, John C. TITLE "Angels in America Part 1: Millennium Approaches." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95) NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 903-906. PUB TYPE Guides General (050) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Acquired Immune Defi-:ency Syndrome; Acting; *Cultural Enrichment; *Drama; Higher Education; Homophobia; Homosexuality; Interviews; Playwriting; Popular Culture; Program Descriptions; Secondary Education; United States History IDENTIFIERS American Myths; *Angels in America ABSTRACT This booklet presents a variety of materials concerning the first part of Tony Kushner's play "Angels in America: A Gay Fantasia on National Themes." After a briefintroduction to the play, the booklet presents a description of the prinipal characters in the play, a profile of the playwright, information on funding of the play, an interview with the playwright, descriptions of some of the motifs in the play (including AIDS, Angels, Roy Cohn, and Mormons), a quiz about plays, biographical information on actors and designers, and a 10-item list of additional readings. (RS) Reproductions supplied by EDRS are the best that can be made from the original document. ****):***:%****************************************************)%*****)%*
    [Show full text]
  • The Bates Student Archives and Special Collections
    Bates College SCARAB The Bates Student Archives and Special Collections 3-7-2018 The Bates Student - volume 148 number 14 - March 7, 2018 Bates College Follow this and additional works at: https://scarab.bates.edu/bates_student TheTHE VOICE OF BATES COLLEGEBates SINCE 1873 Student WEDNESDAY March 7, 2018 Vol. 148, Issue. 14 Lewiston, Maine FORUM ARTS & LEISURE SPORTS Ayesha Sharma ’18 Anah Witt ’21 chats Sarah Roth- discusses RuPaul’s with performers in mann ‘19 Talks acceptance of Student VCS. to Bates swim- transgender women. mers about NCAAs. See Page 2 See Page 5 See Page 8 Inside Arts & Leisure: Actualizing Angels In America within the Bates Community the same name. Angels In America TRICIA CRIMMINS in full is two parts, Millennium STAFF WRITER Approaches and Perestroika. This month’s production at Bates only Angels In America: Millen- includes the former. nium Approaches is an epic tour de As an ensemble member, I’ve force set in 1985s United States of been rehearsing for Angels for the America. Playwright Tony Kushner past two and a half months. I re- tackles the AIDS crisis, Reagan- cently chatted with director Dugan, ism, love, heartbreak, self-discovery, who has been with the show much and a multitude of other themes longer. via witty dialogue, magical realism, When deciding whether or and complex and profoundly genu- not to embark on the journey that ine characters. The show opens this is putting on this enormous show, Thursday, March 8, and runs until Tim jokingly recalls asking friends, Monday, March 13 in Schaeffer “Hey… am I crazy? Architecturally, Theatre.
    [Show full text]