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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. -
THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION
THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION STATEMENT: Promote full utilization of the capabilities of the Enterprise's employees and champion the betterment of the company and community. Promote interest in Asian Pacific issues and culture and act as a bridge to all groups within our community. (substitute in your Enterprise and company, etc…) --------------------------------------------------------------------- ed. by Douglas Ikemi ([email protected]) ------------------------------------------------------------------------- Back issues of the newsletter for all of 2000, 2001, 2002, 2003, 2004, and 2005 are available at http://www.ikemi.info/APPA/newsletters.html if you want to look up some past event. The website www.apa- pro.org no longer exists. This newsletter was originally published under the auspices of the Hughes Asian Pacific Professional Association (no longer extant). It currently has no affiliation and is available to anyone who is interested in downloading it. ---------------------------------------------------------------------- Please send in information on cultural events and news items to [email protected] or [email protected] . Thanks to those who have. Long range calendar items: Chinatown Farmers Market EVERY THURSDAY FROM 2-6PM, the Chinatown Farmers' Market takes place at Hill & Alpine bringing fresh fruits and produce by California Farmers to the Chinatown Community. FRIED BANANA, FRIED YAM, HAWAIIAN CHICKEN. We invite you to come and experience the Chinatown Farmers' Market. Free parking with purchase. The Downtown Arts District/Little Tokyo Farmers' Market Weller Court 2nd & San Pedro in Little Tokyo Summer Hours 10-3pm Features fresh produce, Hawaiian Chicken, more food gifts...and live jazz band. Tuesdays from 10 a.m.- 3 p.m. The weekly market is held every Tuesday from 10 a.m.- 3 p.m year round, rain or shine. -
Annual Report
18 ANNUAL REPORT 19 MISSION VISION • We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens who transform The Theatre School trains students communities across DePaul, Chicago, the nation, and the world. • We will support an expert, passionate faculty and staff to the highest level of professional committed to advancing the vibrancy of live theatre and performance while continually adapting to a broadening skill and artistry in an inclusive and changing profession. • We will become a model of diversity and inclusion for the University and the field. and diverse conservatory setting. • We will produce public programs and performances that challenge, entertain, and stimulate the imagination. • We will foster cross-disciplinary collaboration to further student understanding and appreciation of every aspect of theatre work. VALUES EDUCATION We advance intellectual development and ethical consciousness. We foster moral, spiritual, social, political, and artistic growth. We promote participation in civic life. RESPECT We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian model of service. FREEDOM We build a community founded on the principles of creativity and freedom of expression. We value initiative, innovation, exploration, and risk-taking. IMAGINATION We celebrate the primacy of imagination in our work. SPIRITUALITY We believe theatre is a place for reflection, awakening, and the development of moral awareness. Welcome to The Theatre School’s 2018-19 Annual Report. This year we auditioned and admitted students in our new Comedy Arts and Projection Design majors. We also received approval for a new BFA degree in Wig and Makeup Design & Technology, which will greet its first class in Fall 2020. -
The Berkeley Rep Magazine 2017–18 · Issues 5–6
aids in the United States today 25 · 4 questions for the cast 27 · The program for Angels in America: A Gay Fantasia on National Themes 33 THE BERKELEY REP MAGAZINE 2017–18 · ISSUES 5–6 AG_program.indd 1 4/4/18 3:54 PM Encore spread.indd 1 2/28/18 3:55 PM Encore spread.indd 1 2/28/18 3:55 PM AG_program.indd 4 4/4/18 3:54 PM IN THIS ISSUE 16 23 29 BERKELEY REP PRESENTS MEET THE CAST & CREW · 34 ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES · 33 PROLOGUE A letter from the artistic director · 7 Connect with us online! A letter from the managing director · 8 Visit our website berkeleyrep.org facebook.com/ @berkeleyrep You can buy tickets and plan your visit, berkeleyrep watch videos, sign up for classes, donate to vimeo.com/ @berkeleyrep REPORTS the Theatre, and explore Berkeley Rep. berkeleyrep The Messenger has arrived: berkeleyrep. berkeleyrep The art of theatrical flying ·13 We’re mobile! tumblr.com Crossing paths: Download our free iPhone or Google Play app —or visit our mobile site —to buy tickets, read An intergenerational conversation · 16 the buzz, watch videos, and plan your visit. June 2018, when 21 Ground Floor projects roam · 19 Considerations FEATURES Only beverages in cans, cartons, or cups with You are welcome to take a closer look, but The Origin Story · 20 lids are allowed in the house. Food is prohibited please don’t step onto the stage or touch in the house. the props. Tinkering and tinkering: An interview with Tony Kushner and Tony Taccone · 21 Smoking and the use of e-cigarettes is prohibited Any child who can quietly sit in their own by law on Berkeley Rep’s property. -
Working at Osf
1 Welcome to the Oregon Shakespeare Festival’s 2019 season! We hope you are as excited to join our OSF Company as we are to be a part of it ourselves. If you have not worked here before, we encourage you to learn as much as you can about the company before you begin by reading this welcome information. If you are returning to OSF, please take the time to review this information as the details can change from season to season. Please also visit our website, www.osfashland.org, which has a wealth of information about OSF and the work we do. The Oregon Shakespeare Festival is truly a unique organization in American theatre. In 2019, we will produce over 780 performances of 11 plays in three theatres and one community tour over an eight-month performance season to an audience of close to 400,000. We have one of the most demanding and complex production schedules in the country; our system of rotating repertory is ambitious and impacts everything we do. Add in the unpredictable elements of rain, smoke, heat and cold in our outdoor Allen Elizabethan Theatre, and it can seem pretty hectic around here sometimes. And yet the rewards are astonishing. In 2019, more than 600 theatre professionals, including one of the largest acting companies anywhere in the world, will come together to create the season here in Ashland. OSF is a large organization, and new company members are frequently overwhelmed with questions about it. Please check the Important Contacts appendix in this Welcome Book for information on who to contact when you need something—there are many people here to lend a hand anytime. -
Parfumerie Adapted by E.P
Press Contact: Tim Choy, David Barber 323-954-7510 [email protected], [email protected] Publicity PHOTOS available at www.thewallis.org/press Wallis Annenberg Center for the Performing Arts Presents Parfumerie Adapted by E.P. Dowdall from the Hungarian play Illatszertar by Miklos Laszlo Directed by Mark Brokaw Richard Schiff, Eddie Kaye Thomas, Deborah Ann Woll and Arye Gross lead ensemble cast Opens Tonight! Now through December 22 at Bram Goldsmith Theater Production will be complemented with the Exhibition Timeless Scents: 1370-2013 A history of iconic fragrances through the ages created especially for The Wallis by Chandler Burr, former New York Times scent critic Lovelace Studio Theater (Beverly Hills, CA – December 4, 2013) The romantic comedy Parfumerie, adapted by E.P. Dowdall from the Hungarian play Illatszertar by Miklos Laszlo, will have a rare revival as the first theater production of the Wallis Annenberg Center for the Performing Arts (Lou Moore, Executive Director), for a limited engagement now through December 22. The production, directed by Mark Brokaw, who is currently represented on Broadway with Rodgers and Hammerstein’s Cinderella, centers on a romance that unfolds through love letters, a perfect homage to the historic Beverly Hills Post Office. Set during Christmastime, 1937 in Budapest Hungary, the play centers around two bickering employees at an upscale boutique, who have been building an anonymous romantic relationship through letters to one another for two years. This popular comedy has been a favorite in Europe, but is rarely seen in the United States. Written by Hungarian émigré Miklos Laszlo, Parfumerie’s charming plot has been adapted to film several times, including The Shop Around the Corner, In the Good Old Summertime, and You’ve Got Mail, and as the Broadway musical She Loves Me. -
By Bill Cain Kent Nicholson
- 49th Season • 466th Production SEGERSTROM STAGE / OCTOBER 19 - NOVEMBER 18, 2012 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents by Bill Cain Scott Bradley Callie Floor Alexander V. Nichols SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Matt Starritt Joshua Marchesi Kathryn Davies* SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER Directed by Kent Nicholson Pam and Jim Muzzy Honorary Producers Corporate Producer HOW TO WRITE A NEW BOOK FOR THE BIBLE was developed at the Ojai Playwrights Conference, Robert Egan, Artistic Director and at Theatre Works, Palo Alto, CA as part of their New Works Festival It was originally produced by Berkeley Repertory Theatre, Berkeley , CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director and Seattle Repertory Theatre, Seattle, WA, Jerry Manning, Artistic Director/Benjamin Moore, Managing Director How to Write a New Book for the Bible • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Bill ....................................................................................................... Tyler Pierce* Mary ............................................................................................ Linda Gehringer* Paul ............................................................................................... Aaron Blakeley* Pete ........................................................................................................... Jeff Biehl* LENGTH Approximately two hours and 20 minutes -
The Language Archive
46th Season • 443rd Production JULIANNE ARGYROS STAGE / MARCH 26 - APRIL 25, 2010 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents the world premiere of THE LANGUAGE ARCHIVE BY Julia Cho Neil Patel Rachel Myers Mark McCullough Steven Cahill SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUND DESIGN Philip D. Thompson John Glore Joshua Marchesi Chrissy Church* DIALeCt CoACH DRAMAtuRg PRoDuCtIon MAnAgeR StAge MAnAgeR DIRECTED BY Mark Brokaw The Playwrights Circle HonoRARY PRoDuCeRS THE LANGUAGE ARCHIVE was commissioned by and produced by special arrangement with Roundabout Theatre Company. The Language Archive • SOUTH COA S T REPE R TO R Y P1 CAST OF CHARACTERS (In order of appearance) George ..................................................................................................... Leo Marks* Mary .................................................................................................... Betsy Brandt* Emma ................................................................................................. Laura Heisler* Alta ................................................................................................ Linda Gehringer* Resten ............................................................................................ Tony Amendola* LENGTH Approximately two hours with one 15-minute intermission. PRODUCTION STAFF Casting ..................................................................................... Joanne DeNaut, CSA Assistant Stage Manager .............................................................. -
Jeanne Sakata Joel De La Fuente Lisa Rothe
PRESENTS BY Jeanne Sakata STARRING Joel de la Fuente SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER Mikiko Suzuki MacAdams Margaret E. Weedon Cat Tate Starmer Daniel Kluger PRODUCTION STAGE MANAGER CASTING Mary K. Botosan Pat McCorkle, Katja Zarolinski, CSA BERKSHIRE PRESS REPRESENTATIVE DIGITAL ADVERTISING NATIONAL PRESS REPRESENTATIVE Charlie Siedenburg The Pekoe Group Matt Ross Public Relations DIRECTED BY Lisa Rothe SPONSORED IN PART BY Carol and Alfred Maynard & Dick Ziter and Eric Reimer Hold These Truths was first produced in 2007 by East West Players in Los Angeles, California, under the title of Dawn’s Light: The Journey of Gordon Hirabayashi. It was commissioned in 2004 by Chay Yew, former Director of the Center Theater Group’s Asian Theatre Workshop, and further developed with the Lark Play Development Center, the New York Theatre Workshop, and the Epic Theatre Ensemble. Hold These Truths received its New York Premiere at the Epic Theatre Ensemble in October 2012. ST. GERMAIN STAGE MAY 22–JUNE 8, 2019 CAST Gordon Hirabayashi ............................................................................. Joel de la Fuente* STAFF Production Stage Manager .................................................................... Mary K. Botosan* Stage Management Intern ........................................................................ Melina Yelovich Master Electrician/Light Board Operator ...................................................Joey Rainone IV Sound Engineer .............................................................................................. -
By Tony Taccone and Bennett S
BY TONY TACCONE AND BENNETT S. COHEN, ADAPTED FROM THE NOVEL BY SINCLAIR LEWIS SOUND DESIGN AND MUSIC BY PAUL JAMES PRENDERGAST DIRECTED BY LISA PETERSON DEAR FRIENDS, Four years ago, in the lead-up to the 2016 election, Berkeley Rep produced Tony Taccone and Bennett Cohen’s adaptation of Sinclair Lewis’ frighteningly prescient novel. With a desire to see the story reach the widest possible audience, and celebrating the impulse that led the wpa in 1936 to share the original stage version of Lewis’ novel for free with 21 theatres across the country, Berkeley Rep offered the rights to Tony and Bennett’s adaptation to theatres, community centers, universities — anyone who wanted to put together their own production or reading. And now, in 2020, this story feels all the more vital, and the need to share it widely even more compelling. I am honored that more than 75 organizations from more than 20 states have partnered with us to share this production of It Can’t Happen Here for free with their audiences and communities. We are joined in this effort by long-time theatre colleagues, by universities from Howard in Wash- ington, DC to Saint Cloud State in Minnesota (near Lewis’ hometown), by libraries, community centers, and radio stations. I am deeply grateful to Tony and Bennett, director Lisa Peterson, sound designer Paul James Prendergast and his small but mighty team, and this extraordinary cast who have collaborated across miles and time zones, through wildfires and new technology, for their conviction that the- atre matters, that narrative helps us to see the world more clearly, and that together we have the capacity to effect change. -
New Releases
2010 N E W RELEASES American Studies 3 Latin American Studies 3-5 African Diaspora 4-7 The Work of Jamika Ajalon 6 Maghrebi Immigration 7 Hip-Hop Media 8-9 Asian Pacific Diaspora 10 Korean Studies 11 World Geography 12 Muslim Diaspora 12 Indigenous Studies 13 2009 & 2008 Releases 14-15 A MERIC A N S TUDIE S /L A TIN A MERIC A N S TUDIE S . NEW2010 10% discount on 2010 DVD releases when you Our mission is to foster mention promo code the creation, appreciation and dissemination of social issue media made by or about people of color. The HOW TO ORDER: importance of the media Optical Revolution tells us how Website: www.twn.org promoted by the organization NEW YA N Q U I W ALKE R US political history relates to the is its ability to effect social A N D T H E O P T I C A L current political, social and econom- Email: [email protected] change, to encourage people REV O LUTI on ical context and how art can be a means to subvert and transcend to think critically about their Kathryn Ramey, 2009, 33 min. Phone: (212) 947-9277 ext. 11 This film explores a now-obscure even the most oppressive of narra- lives and the lives of others, American expansionist, William tives. Fax: (212) 594-6417 and to propel people into Walker, who through military force "The filmmaker raises compelling action. and coercion became president of questions about visual perception Mail: Third World Newsreel Nicaragua in 1856. -
CORRUPTION, COMMUNITY, and the URBAN PROJECT: An
CORRUPTION, COMMUNITY, AND THE URBAN PROJECT: An Anthropology of Gentrification in Prospect Heights, Brooklyn Sean Miller Under the Supervision of Dr. Meg Stalcup A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements For the Master of Arts in Anthropology School of Sociological and Anthropological Studies Faculty of Social Sciences University of Ottawa August 2016 © Sean Miller, Ottawa, Canada, 2016 Table of Contents List of Figures iv List of Acronyms v Abstract vi Acknowledgments vii Introduction 1 What is the ‘Atlantic Yards’/Pacific Park Project? 1 No Sleep ‘til Brooklyn 3 Methodology 7 Thesis Outline 10 Chapter 1 The ‘Atlantic Yards’/Pacific Park Project: “Corruption” on the Ground 14 Welcome to New York 15 “Simple Case of Government Corruption”? 16 The ‘Atlantic Yards’/Pacific Park Project: A Timeline 21 “The Ends Justify the Means” 26 The People and the Project 32 A Problem for the Developer 41 Conclusion: Two Basic Types of “Corrupted Solidarity Networks” 43 Chapter 2 An Anthropology of Gentrification: Predatory Authority and Power 45 The “G” Word 45 Experiencing Gentrification 47 Displacement and the Politics of Discouragement 50 The Promises of the ‘Atlantic Yards’/Pacific Park Project 57 The “Winners” and the “Losers” 59 Comfort 63 ii Conceptualizing Gentrification Through Experience 68 Conclusion: The Ripple Effects of Gentrification 71 Chapter 3 Prospect Heights: An Anthropology of Community in Lieu of Gentrification 73 A New York State of Mind 73 How Does Gentrification Work? 74 Shaping Your Community 76 Fighting for Your Right to Community 77 10 Murals, 1 Day – A “Block Party-style” Event 81 #ConquerAllCourts 85 Palpable Indifference 87 The Developer-Government Alliance 89 Community as a Mechanism 91 Conclusion: The Complexities and Contradictions of Community 93 Conclusion 95 Experiencing the Project 95 Urban Space, Social Relations, and Private Development 98 The Future of Cities 100 Bibliography 102 iii List of Figures Figure 1: Barclays Center in the Rain.