DOCSLIB.ORG

The Director

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Director THE IMAGE MAKERS: THE DIRECTOR Forerunners In the 1860s in Europe, the practice of a single person guiding all as­ pects of the production process began to take hold. Before that time,) leading actors, theatre managers, and sometimes playwrights "staged" the play, thereby setting actors' movements, dictating financial matters, and making decisions on casting, costumes, and scenery. During the first half of the nineteenth century, actor-managers (following the tradition of James Burbage in England and Moliere in France) resembled the mod­ ern director in some respects. Nevertheless, the actor-manager was first of all an actor and considered the production from the perspective of the role he was playing. David Garrick (1717-1779) was one of En­ gland's successful actor-managers. Although the theatre between 1750 and 1850 was immensely popular in Europe, most actor-managers­ Garrick was an exception-maintained inferior artistic standards in their pursuit of large box office receipts. This general condition in the theatre began to worry a growing num­ ber of theatre people, who reexamined the production process. With the formation in 1866 of Duke George II of Saxe-Meiningen's company in Germany (known as the Meiningen Players), the director in the modern sense of the term began to emerge. He exercised a central artistic disci­ pline over the company, serving in the modern sense as producer, direc­ tor, and financial backer. By controlling design, he introduced a unified look in costumes and settings. The Duke's efforts to define the direc­ tor's role were followed by those of Andre Antoine in France and Con­ stantin Stanislavski in Russia. Under their influence, the modern stage director's identity took shape in Europe: someone who understood all The director, in collaboration with the playwright and with the help of many other artists and assistants, creates the performance in the theatre's space for us to see and hear. DUKE OF SAXE-MEININGEN­ GEORGE II Duke of Saxe-Meiningen, George ll (1826-1914), transformed the Duchy of Meiningen's court theatre into an example of scenic historical accuracy and lifelike acting. As producer-director, the Duke designed all costumes, scenery, and properties for historically authentic style, and worked for ensemble acting. The Duke was assisted by Ludwig Chronegk (1837-1891), an actor responsible for supervising and rehearsing the company. The Meiningen Players were noted throughout Europe for their crowd scenes, in which each member of the crowd had individual traits and specific lines. In rehearsals the actors were divided into small groups, each under the charge of an experienced actor. This practice was in keeping with the company's rule against actors being stars and was the beginning of the new movement in 1874 toward uni­ fied production under the director's control. Saxe-Meiningen's example of the single creative authority in charge of the total production influ­ enced Antoine and Stanislavski. theatre arts and devoted full energies to combining them into a unified, artistic whole. The Director as Artist The director collaborates with playwright, actors, designers, and techni­ cians to create on stage a carefully selected vision of life-a special mir­ ror. Alan Schneider described the theatre's role from a director's view­ point as presenting life not in its literal exactness but through some kind of poetic vision, metaphor, or image-the mirror held up to nature. The director can have several roles in the theatre, ranging from the mun­ dane, like attending to budgets, publicity, and box office details, to the / i~aginati~dis_fgvery and creative interpretation of the playwright's L;:::t~ In all events, the director is the controlling artist responsible for unifying the production elements, which often includes the use of text, music, sound, and visuals. 248 Chapter Ten Although each director has his or her own way of working creatively in the theatre, in general three types of directors have evolved over the years. On the first day of rehearsal, one type of director gives a speech to the cast on what the play is about and describes the approach that will be taken to interpreting the text. Actors, directors, and designers are often treated as "servants" to the director's concept and expected to deliver the "look" and "meaning" of the play's world as specified by the director. Another type of director reverses this approach and be­ comes the servant or coordinator of a group of actors, thereby limiting his or her own vision to the suggestions, criticisms, and encouragements of the group. The third type of director functions as a guide, or helmsman, who senses at the outset the direction that the production will take but pro­ ceeds in rehearsals to provoke and stimulate the actors. This director creates an atmosphere in which actors dig, probe, and investigate the whole fabric of the play. Rehearsals are used to search out ("to harrow" in the original sense of the word rehearse), to listen, and to yield to sug­ gestions. The "directional conception" is what Alan Schneider refers to ,. as the director's poetic vision, and it precedes the first day's work. Nev­ ertheless, the "sense of direction" only crystallizes into a consistent stage image at the very end of the process. The director's question, unlike the critic's, does not deal so much . , with "What's the event about?" as with questions about the event's po- ,{. tential. This is the reason a director chooses one sort of theatrical mate- ' ' rial over another-because of its potential. It is this realization of a play's or event's potential that motivates directors to find space, actors, and forms of expression. The director, like the hunter or the explorer, intuits that a potential exists within a work (or text) and yet explores the un­ known with a sense of expectation and discovery and with a deepening commitment to leading the team. Try to imagine the potential of an un­ tried script called A Streetcar Named Desire and the excitement of its first director, Elia Kazan, struggling to find the direction of what he called the spine (or the throughline) of the play's main action. In his note­ book, he defined the play's spine as the "last gasp" of a dying civiliza­ tion: "This little twisted, pathetic, confused bit of light and culture ... snuffed out by the crude forces of violence, insensibility and vulgarity which exist in our South-and this cry is the play."2 Consider a director like Peter Brook who sets out, over a number of years, to explore an ancient Hindu epic (The Mahabharata); Brook's The Image Makers: The Director 249 ANDRE ANTOINE Andre Antoine (1858-1943) was producer-director of the Theatre Libre, or Free Theatre, in France. Beginning as a part-time actor, Antoine founded in 1887 a theatre and a naturalistic production style that became world-famous. The Theatre Libre was a subscription the­ atre, one open only to members and therefore exempt from censorship. It became a showcase for new plays (Ibsen's Ghosts was one) and new production techniques. Seeking authentic detail, Antoine tried to repro­ duce exact environments. In one play he hung real beef carcasses on stage. In an effort to stage "real" life, Antoine developed three impor­ tant principles: realistic environments, ensemble acting, and the direc­ tor's authority. nine-hour theatrical realization presents humanity's greatest dilemma: human beings caught up in the conflict of divine versus demonic forces. The story of this 1985 theatre epic is essentially a quest for morality: how to find one's way in an age of destruction regardless of epoch, culture, or society. As director, Brook-with the assistance of collaborators, in­ cluding writers, designers, and actors-himself created a theatrical epic out of an ancient, sacred poem of Hindu origins. With A Streetcar Named Desire, Elia Kazan interpreted Tennessee Williams' text. They are both directors creating a "mirror" that is held up to nature in its many forms, varieties, and expressions. Early Responsibilities: Audition, Casting, Assistants Basically, a director has six responsibilities: (1) agreeing to direct an of­ fered script or selecting or creating a script, especially in college and university productions; (2) deciding on the text's interpretation and the "look" and configuration of the stage space; (3) casting actors in the various parts; (4) working with other theatre artists to plan and execute 250 Chapter Ten CONSTANTIN STANISLAVSKI A scene from the 1904 Moscow Art Theatre production of The Cherry Orchard, directed by Constantin Stanislavski. Constantin Stanislavski (1863-1938) was producer-director-actor and co-founder of the Moscow Art Theatre (see Figure 9.3 ). As a director, Stanislavski aimed for ensemble acting and the absence of stars; he es­ tablished such directional methods as intensive study of the play before. rehearsals began, the actor's careful attention to detail, and re-creation of the play's milieu after visiting locales or doing extensive research, The Moscow Art Theatre's reputation was made with Anton Chekhov's plays depicting the monotonous and frustrating life of the rural landowning class. Stanislavski is remembered most for his efforts to perfect a truthful method of acting. His published writings in English-My Life in Arl (1924), An Actor Prepares (1936), Building a Character (1949), and Creating a Role (1961)-provide a record of the "Stanislavski System" as it evolved. The Image Makers: The Director 251 ALAN SCHNEIDER The first American production of Beckett's Waiting for Godot was directed by Alan Schneider in 1956 at the Cocoanut Grove Playhouse in Miami. Tom Ewell played Vladimir (center) and Bert Lahr was Estragon.
Load more

Recommended publications
  • Donald Mckayle Papers MS.P.023
    http://oac.cdlib.org/findaid/ark:/13030/tf1k400389 No online items Guide to the Donald McKayle Papers MS.P.023 Finding aid prepared by Processed by Laura Clark Brown, machine-readable finding aid created by James Ryan, 1998; edited by Audra Eagle Yun, 2012. Special Collections and Archives, University of California, Irvine Libraries The UCI Libraries P.O. Box 19557 University of California, Irvine Irvine, California, 92623-9557 949-824-3947 [email protected] © 2012 Note Arts and Humanities --Performing Arts--DanceArts and Humanities--Performing Arts --Theater Guide to the Donald McKayle MS.P.023 1 Papers MS.P.023 Title: Donald McKayle papers Identifier/Call Number: MS.P.023 Contributing Institution: Special Collections and Archives, University of California, Irvine Libraries Language of Material: English Physical Description: 19.1 Linear feet(19 document boxes, 5 record cartons, 1 shoe box, 6 flat boxes, and 3 oversized folders) and 12.1 unprocessed linear feet Date (inclusive): 1930-2009 Abstract: Photographs, programs, production notes, music scores, audio and video recordings, costume designs, reviews, and other printed and graphic materials illustrate the eclectic career of world-renowned choreographer and University of California, Irvine Professor of Dance Donald McKayle. Early materials pertain to his youth in Harlem and his performance career in New York City in concert dance, theater and television. The bulk of the collection documents McKayle's career as the choreographer of over fifty concert dance pieces between 1948 and 1998 and as a director or choreographer for theatrical productions both off and on Broadway, including Raisin and Sophisticated Ladies. The materials illustrate the development of individual choreographic pieces, the evolution of McKayle as an artist, and his career as a dance educator.
    [Show full text]
  • Donald Mckayle's Life in Dance
    ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
    [Show full text]
  • Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
    Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983).
    [Show full text]
  • ANNA SOKOLOW Choreography and Dance Studies a Series of Books Edited by Robert P
    ANNA SOKOLOW Choreography and Dance Studies A series of books edited by Robert P. Cohan, C.B.E. Volume 1 The Life and Times of Ellen von Frankenberg Karen Bell-Kanner Volume 2 Dooplé The Eternal Law of African Dance Alphonse Tiérou Volume 3 Elements of Performance A Guide for Performers in Dance, Theatre and Opera Pauline Koner Volume 4 Upward Panic The Autobiography of Eva Palmer-Sikelianos Edited by John P. Anton Volume 5 Modern Dance in Germany and the United States Crosscurrents and Influences Isa Partsch-Bergsohn Volume 6 Antonio de Triana and the Spanish Dance A Personal Recollection Rita Vega de Triana Volume 7 The Dance of Death Kurt Jooss and the Weimar Years Suzanne K. Walther Volume 8 Dance Words Compiled by Valerie Preston-Dunlop Volume 9 East Meets West in Dance: Voices in the Cross-Cultural Dialogue Edited by Ruth Solomon and John Solomon Please see the back of this book for other titles in the Choreography and Dance Studies series ANNA SOKOLOW THE REBELLIOUS SPIRIT Larry Warren ROUTLEDG Routledge E Taylor & Francis Group NEW YORK AND LONDON Copyright © 1998 OPA (Overseas Publishers Association) Amsterdam B.V. Published in Routledge Publishers. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any infor­ mation storage or retrieval system, without permission in writing from the pub­ lisher. Published by Routledge 711 Third Avenue, New York, NY 10017 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN British Library Cataloguing in Publication Data Warren, Larry Anna Sokolow: the rebellious spirit.
    [Show full text]
  • Filmography V6.Indd
    a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television.
    [Show full text]
  • History of Arena Stage: Where American Theater Lives the Mead Center for American Theater
    History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • 2010 TCG National Conference: IDEAS INTO ACTION
    July 29, 2010 For immediate release Contact: Chris Boneau/Susanne Tighe [email protected] 2010 TCG National Conference: IDEAS INTO ACTION Field pioneers meet a new generation of visionaries as TCG awards the “Spirit of Irreverence” to funders and artists alike. The 2010 TCG Award Recipients are: Regional Funder Award: the Joyce Foundation Visionary Leadership Award: Bill Rauch, Artistic Director, Oregon Shakespeare Festival Theatre Practitioner Award: Bernard Gersten, Executive Producer, Lincoln Center Theater National Funder Award: Susan Smith Blackburn Prize Peter Zeisler Memorial Award: Jack Reuler, Artistic Director, Mixed Blood Theatre Alan Schneider Director Award: Anne Kauffman, Director Theatre Communications Group (TCG), the national organization for professional not- for-profit theatre announces the winners of the 2010 TCG Awards for excellence. The TCG Awards, presented during TCG’s National Conference in Chicago this past June, exist to salute extraordinary dedication to the American theatre community, the recipients of this honor are nominated by their peers and selected by TCG’s Board of Directors. Since 2001, TCG’s member theatres have been asked each year to nominate one person or organization for each of the five prestigious awards. On stage at the Palmer House Hilton’s Red Lacquer Room, TCG recognized a Regional Funder, a National Funder and recipients of the Peter Zeisler Memorial Award, the Alan Schneider Director Award and the Visionary Leadership Award with “Spirit of Irreverence” statues designed by Ralph Lee. “It
    [Show full text]
  • Dreams of a Wood Sprite
    DREAMS OF A WOOD SPRITE Gideon Lester talks to director and choreographer Martha Clarke about flying, animals, and A Midsummer Night's Dream. Gideon Lester: A Midsummer Night's Dream is the first Shakespeare that you've directed. When Robert Woodruff approached you to direct at the A.R.T., why did you suggest this play? Martha Clarke: For years I've known that if ever I were to tackle Shakespeare, this would be the play. It's the only one I instinctively felt I would understand, being a bit of a wood sprite. G.L.: How are you a wood sprite? M.C.: You're not supposed to ask those questions. Let's just say that I understand stories of love, transformation, and projecting one's amorous baggage onto someone else. G.L.: So the play has been on your mind for a long time. M.C.: If you can call this a mind! When I was fourteen I played Puck in high school and I still remember great chunks of the text. G.L.: Before rehearsals began you spent a week working with four actors and a vocal coach, Deborah Hecht. You remarked afterwards that the process had made the prospect of staging the play less daunting to you. What did you mean? M.C.: Deb investigates text in the same way that I explore physicality. She unpacks its rhythm, shape, energy, and phrasing - in a sense turning it into music. Shakespeare's language can be either energized or contained, like movement. Speaking the verse requires the actor to make sounds - tight and small or long and full - just as a dancer creates a physical gesture.
    [Show full text]
  • Mabou Minesâ•Ž Dead End Kids and Performing Artists for Nuclear
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 Mabou Mines’ Dead End Kids and Performing Artists for Nuclear Disarmament Hillary Miller Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/451 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Side by Side: Collaborative Artistic Practices in 1. THOMAS J. LAX 2. GWYNETH SHANKS 3. ROSS ELFLINE 4. ALLIE TEPPER 5. WENDY PERRON the United States, 1960s–1980s Preface Introduction: Being With, Thoughts on the Common Ground: Haus-Rucker-Co’s Food Individual Collective: A Conversation with How Grand Union Found a Home Outside of Collective City I and Collaborative Design Practice Senga Nengudi SoHo at the Walker LIVING COLLECTIONS CATALOGUE VOLUME III. SIDE BY SIDE Mabou Mines’ Dead End Kids & Performing Artists for Nuclear Disarmament By Hillary Miller Mabou Mines performers in Dead End Kids: A History of Nuclear Power presented by the Walker Art Center at the University of Minnesota’s Coffman Union Great Hall, Minneapolis, March 1982. Walker Art Center Archives. ABSTRACT CITATION Performance studies scholar and theater historian Hillary Miller offers a new study of the 1980 production of Dead End Kids: A History of Nuclear Power by the New York-based avant-garde theater collective, Mabou Mines. Through a close reading of the play, Miller explores the relationship between this production and the little researched organization, Performing Artists for Nuclear Disarmament (PAND), revealing the correlations between collaboratively-generated theater practices and concurrent protest movements.
    [Show full text]