BAM Presents Ridge Theater's Persephone, Featuring Julia Stiles
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RG.UK O THEATRE. L RARY THEATRE TA O O T NTEMP 2009 | O NG C I P UMMER S lo E V 02 | UE – DE ISS 21 | THEATRE L TA O T VOLUME THE TOTAL THEATRE MAGAZINE SUmmER PICNIC HAMPER – LOTS OF GOODIES INSIDE StREET ARTS: THE NEXT GENERATION – BRIGHT YOUNG THINGS BLAZE THE TRAIL URBAN SURPRISES – GET THE STORY ON FRENCH PRANKSTERS ICI-MEME QUEER UP NORTH STAR URSULA MARTINEZ REVEALS ALL MEET MARK DOWN OF BLIND SUmmIT THEATRE AND THEIR PUPPET CREATION SHUN-KIN WHAT’S EVERYBODY DOING AT THE NATIONAL REVIEW OF LIVE ART? FIND OUT INSIDE WHAT A SITE! A TALE OF UNDERGROUND CAVERNS AND MULTI-STOREY CAR PARKS PLUS: REVIEWS AND REPORTS FROM THE LONDON INTERNATIONAL MIME FESTIVAL, MANIPULATE FESTIVAL OF VISUAL THEATRE, CIRQUE DE DEMAIN IN PARIS, AND THIRD MIND LIVE IN NEW YORK Discover your creative potential at the University of Winchester The Department of Performing Arts offers a wide range of courses at undergraduate and postgraduate level including the following: l FDA Creative Industries l BA (Hons) Choreography and Dance l BA (Hons) Drama l BA (Hons) Performance Management l BA (Hons) Performing Arts l BA (Hons) Street Arts l MA Cultural and Arts Management l MA Devised Performance (2009 entry) l MA Theatre and Media for Development For details on the full range of courses offered by the Faculty of Arts visit: www.winchester.ac.uk/arts Telephone: 01962 827234 Email: [email protected] Dell’Arte International Summer Workshops 2009 in BLUE LAKE, California Dell’Arte June 17 - International School of Physical Theatre August 7 is the North American center for theatre training, research, and performance GRAND of the actor-creator. -
Improvising Across the Electronic Abyss
Playing into the Machine: Improvising across the Electronic Abyss David Rothenberg and Ben Neill The initial reason we play into machines is The electric guitar is the most per- for the enhancement that basic sound effects offer. The first fect musical sound to be effected, a b s t r a c t sound effect every acoustic player loves is reverb, which can because it is a pure, high-volume, make us sound as if we are playing inside any space imaginable. clear tone, crying out for effects to Two musicians who have A single tone can be quickly played and then remain endlessly shape it in myriad ways. Effects de- focused on playing acoustic ringing on in artificial space. Only a few notes are needed, with fine the personality of guitar play- wind instruments into electron- plenty of silence between them, to make a melody fill the air. In ers, and it is probably with them in ics for the purposes of enhanc- ing their original sound reflect reverb’s earliest incarnation, sounds were piped into resonat- mind that the whole industry has on how the use of such new ing chambers or blasted against springs and plates to create developed. However, wind players technologies inherently pushes the effect, but now it can be expertly synthesized with digital learn their individuality through “old technologies” toward a new precision, and actual acoustic spaces from all over the planet years of practice at personalizing aesthetics of improvisation. can be sampled with the technique known as convolution [1]. a tone, so when we confront the Here a conflict emerges: The regularity of delays adds or- machine, we have a whole different der and rhythm to melodies that otherwise might be free. -
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 -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
1984 Category Artist(S)
1984 Category Artist(s) Artist/Title Of Work Venue Choreographer/Creator Anne Bogart South Pacific NYU Experimental Theatear Wing Eiko & Koma Grain/Night Tide DTW Fred Holland/Ishmael Cowboys, Dreams, and Ladders The Kitchen Houston Jones Julia Heyward No Local Stops Ohio Space Mark Morris Season DTW Nina Wiener Wind Devil BAM Stephanie Skura It's Either Now or Later/Art Business DTW, P.S. 122 Timothy Buckley Barn Fever The Kitchen Yoshiko Chuma and the Collective Work School of Hard Knocks Composer Anthony Davis Molissa Fenley/Hempshires BAM Lenny Pickett Stephen Pertronio/Adrift (With Clifford Danspace Project Arnell) Film & TV/Choreographer Frank Moore & Jim Self Beehive Nancy Mason Hauser & Dance Television Workshop at WGBH- Susan Dowling TV Lighting Designer Beverly Emmons Sustained Achievement Carol Mulins Body of Work Danspace Project Jennifer Tipton Sustained Achievement Performer Chuck Greene Sweet Saturday Night (Special Citation) BAM John McLaughlin Douglas Dunn/ Diane Frank/ Deborah Riley Pina Bausch and the 1980 (Special Citation) BAM Wuppertaler Tanztheatre Rob Besserer Lar Lubovitch and Others Sara Rudner Twyla Tharp Steven Humphrey Garth Fagan Valda Setterfield David Gordon Special Achievement/Citations Studies Project of Movement Research, Inc./ Mary Overlie, Wendell Beavers, Renee Rockoff David Gordon Framework/ The Photographer/ DTW, BAM Sustained Achievement Trisha Brown Set and Reset/ Sustained Achievement BAM Visual Designer Judy Pfaff Nina Wiener/Wind Devil Power Boothe Charles Moulton/ Variety Show; David DTW, The Joyce Gordon/ Framework 1985 Category Artist(s) Artist/Title of Work Venue Choreographer/Creator Cydney Wilkes 16 Falls in Color & Searching for Girl DTW, Ethnic Folk Arts Center Johanna Boyce Johanna Boyce with the Calf Women & DTW Horse Men John Jesurun Chang in a Void Moon Pyramid Club Bottom Line Judith Ren-Lay The Grandfather Tapes Franklin Furnace Susan Marshall Concert DTW Susan Rethorst Son of Famous Men P. -
The National Arts Awards Chair
1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
Carol Szymanski CV
CAROL SZYMANSKI Born in Charlotte, North Carolina Lives and works in New York EDUCATION 1982-83 The Whitney Museum Independent Study Studio Program, New York 1982 MFA, San Francisco Art Institute 1977 BA, University of North Carolina, Chapel Hill SOLO EXHIBITIONS 2019 He Said I Thought, signs and symbols, New York, New York 2018 Pareidolia, Totah Gallery, New York, New York 2017 The Phonemophonic Alphabet Brass Band, curated by John Schaefer, WNYC New Sounds Live Series, Winter Garden, New York, New York 2016 A Distance As Close As It Can Be, Elga Wimmer PCC, New York, New York 2015 My Life is an Index, Tanja Grunert Gallery, New York, New York 2014 Cockshut Dummy - a ten-year composition, Guided by Invoices, New York, New York 2012 Pissing Against the Wind, or, Sketches of the Mental Drain on the Dead Banker, Guided by Invoices, New York, New York 2004 / COCKSHUT DUMMY /, Elga Wimmer PCC, New York, New York 2002 A-Z, Elga Wimmer PCC, New York, New York 1998 The Cardinal Vowel Marching Band, Elga Wimmer Gallery, New York, New York 1996 Galerij S65, Aalst, Belgium signs and symbols | 102 Forsyth Street, New York, NY | www.signsandsymbols.art 1995 Galerie Samuel Lallouz, Montreal, Canada Minimal Pairs, Elga Wimmer Gallery, New York, New York 1993 Sue Spaid Fine Art, Los Angeles, California Amy Lipton Gallery, New York, New York 1991 Amy Lipton Gallery, New York, New York 1989 The Asymptote, Loughelton Gallery, New York, New York 1988 The Broken Phoneme, Pence Gallery, Los Angeles, California 1987 The Broken Phoneme, Loughelton Gallery, New York, New York 1985 Video Installation, The American Academy in Rome, Italy Video Works, Institute of Contemporary Art, Boston, Massachusetts 1983 Video Installation, Otis Art Institute Gallery, Los Angeles, California Video Installation, Emanuel Walter Gallery, San Francisco Art Institute, California TWO-PERSON EXHIBITIONS 2017 Carol Szymanski/Barry Schwabsky: (Emergency Eyewash), Tanja Grunert Gallery, New York, New York 1997 Carol Szymanski/Suzanne McClelland, Schmidt Contemporary Art, St. -
Performance History 2020 ITSOFOMO (In the Shadow Of
Ben Neill – Performance History 2020 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, Getty Museum, Los Angeles, CA Fantini Futuro, Berrie Center for the Performing Arts at Ramapo College, Mahwah, NJ 2019 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, KW Institute, Berlin Big Ears Festival 2019, duo with Mimi Goese, Knoxville, TN International Computer Music Conference, NYU, New York, NY Fantini Futuro world premiere, Roulette, Brooklyn, NY 2018 ITSOFOMO (In the Shadow of Forward Motion), collaboration with David Wojnarowicz, 4 performances at Whitney Museum of American Art, New York, NY STEIM, Amsterdam, The Netherlands 2017 Winter Garden at Brookfield Place, WNYC New Sounds Live, MANITOGA, STEAK abc, performance and installation with artist Carol Szymanski College of Santa Monica Art Gallery, performance of Horizonal in exhibition of artist Andy Moses Woodstock Artists Association and Museum (WAAM), Fathom, collaboration with Mimi Goese Howland Center, Beacon NY, collaborative performance with visual artist Carl van Brunt O+ Festival, Kingston, NY, performance with Mimi Goese Romanischer Sommer, Koln, Germany; World Minimal Music Festival, Amsterdam, Netherlands; Klangspauren Festival, Polling, Germany, NO Festival, Krems, Austria; co- leader of Theater of Eternal Music Brass Ensemble performance of La Monte Young’s work The Second Dream 2016 Lied Center, University of Kansas, The Demo with Mikel Rouse Brooklyn Academy of Music BAM Café with Mimi Goese Café Oto, London, UK International Conference on Live Interfaces, University of Sussex, Brighton, UK Manitoga/The Russel Wright Design Center, Garrison, NY, performance of MANITOGA The Towne Crier, Beacon, NY, premiere of Fathom, commissioned work with Mimi Goese Ultima Festival, Oslo, Norway, Creative Technology Week, “Repurposed Technology; A Night of Invented Instrument Performance”, Clemente Cultural Center, New York, NY Roulette, John Cage Concert for Piano and Orchestra, Orchestra of the S.E.M. -
1 Series Salutes the American Composer and the American
August 16, 2010 Press contact: Erin Allen (202) 707-7302, [email protected] Public contact: Solomon Haile Selassie (202) 707-5347,[email protected] Website: www.loc.gov/rr/perform/concert CONCERTS FROM THE LIBRARY OF CONGRESS ANNOUNCES 2010-2011 Anniversary Season Series Salutes the American Composer and the American Songbook The Library of Congress celebrates its 85 years of history as a concert presenter with a stellar 36-event season presenting new American music at the intersection of many genres–classical music, jazz, country, folk and pop. All concerts are presented free of charge in the Library’s historic, 500-seat Coolidge Auditorium. Tickets are available, for a nominal service charge only, through TicketMaster. Visit the Concerts from the Library of Congress websitefor detailed program and ticket information, at www.loc.gov/concerts. Honoring a longstanding commitment to American creativity and strong support for American composers, the series offers a springtime new music mini-festival, with world premiere performances of Library of Congress commissions by Sebastian Currier and Stephen Hartke. An impressive lineup of period instrument ensembles and artists, including Ensemble 415 and The English Concert, acknowledges the long history of the Coolidge Auditorium as a venue for early music. And the ever-expanding American Songbook is a major thematic inspiration throughout the year: among the many explorations are George Crumb’s sweeping song cycle of the same name, built on folk melodies, cowboy tunes, Appalachian ballads and African American spirituals; art songs from the Library’s Samuel Barber Collection; a new Songwriter’s Series collaboration with the Country Music Association; jazz improvisations on classics by George and Ira Gershwin; a Broadway cabaret evening–Irving Berlin to Kander & Ebb; and a lecture on the wellsprings of blues and the American popular song by scholar and cultural critic Greil Marcus. -
MAIN THEATRE February 16, 2008 8Pm Photo: Andrew Brilliant Deisgn: Maish Simon
DEPARTMENT OF THEATRE & DANCE presents AN SPECIAL PERFORMANCE “Powerfully acted and gorgeously sung [...] ” "Orpheus X [...] is stark and striking." - Variety - Boston Globe video by directed by music and text by Denise Marika Robert Woodruff Rinde Eckert 2007 Pulitzer Prize Finalist MAIN THEATRE February 16, 2008 8pm Photo: Andrew Brilliant Deisgn: Maish Simon This performance runs 1 hour and 35 minutes. There will be no intermission. Audio, video or photographic recording of this performance is strictly prohibited by law. Please take a moment before the performance begins to note the exits nearest your seat. Please turn off the ringers on your cell phones and pagers. Food and drink are not permitted inside the theatre. Thank you for your cooperation. music and text video director Rinde Denise Robert Eckert Marika Woodruff set costumes lighting David Zinn David Christopher Denise Marika Zinn Akerlind sound stage manager David Amy Remedios James CAST THE BAND Orpheus Rinde Eckert percussion Timothy Feeney Eurydice Suzan Hanson piano, guitar Jeff Lieberman John/Persephone John Kelly bass Blake Newman viola Wendy Richman Photo: Andrew Brilliant dramaturge Ryan McKittrick associate production manager Christopher Viklund voice and speech Nancy Houfek stage supervisor Joseph Stoltman production sound engineer Darby Smotherman assistant stage supervisor Jeremie Lozier company manager Tracy Keene assistant directors Caroline Steinbeis, Meiyin Wang master electrician Derek L. Wiles assistant dramaturge Shari Perkins lighting asisstant Kenneth Helvig assistant voice and speech Chris Lang technical director Steven Setterlun Original Funding for Orpheus X was provided by: Meet the Composer/USA National Endowment for the Arts The Rockefeller Foundation/Multi-Arts Production Fund The Harold and Mimi Steinberg Charitable Trust Michael Jacobson Special Thanks: Joy Hurd, Brent Harris, Alyce Dissette, Evan Ziporyn, Ellen McLaughlin, Emily Otto, Desta and Erik Marika-Rich CAST The A . -
Explorations of Dissent in the Music of Czech-Born Composers Marek Kopelent and Petr Kotík
Notes from the Underground: Explorations of Dissent in the Music of Czech-born Composers Marek Kopelent and Petr Kotík by Victoria Johnson A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved November 2015 by the Graduate Supervisory Committee: Sabine Feisst, Chair Robert Oldani Jody Rockmaker ARIZONA STATE UNIVERSITY December 2015 ABSTRACT Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989). The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization. My research draws on the work of Cold War scholars such as Jonathan Bolton, who has written about popular music during Normalization, and Thomas Svatos, who has written about the art music scene during the fifties. For information particular to art music during Normalization, I have relied on primary sources including existing interviews with the composers.