DOCSLIB.ORG

YALE-NUS SYLLABUS for AMERICAN AVANT-GARDE THEATER of the 1960’S and 1970’S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
YALE-NUS SYLLABUS for AMERICAN AVANT-GARDE THEATER of the 1960’S and 1970’S YALE-NUS SYLLABUS FOR AMERICAN AVANT-GARDE THEATER OF THE 1960’s AND 1970’s YHU 3304, Spring semester, 2019 Mondays and Thursdays, 9am-10:30am Room Y-CR9 Professor Joan MacIntosh [email protected] Office hours by appointment only, Mondays, after class. Additionally, there will be a mid-semester conference with each student and an end-of-the-year conference with each student, to give and receive feedback. These will be scheduled within the semester time, and will not infringe on either the Spring Break or the end of the year Reading Period. COURSE OVERVIEW This seminar course will explore the American Avant-Garde Theatre of the 1960’s and 1970’s, and its enduring significance. It will include an examination of the political, social, economic, and aesthetic events that led to its beginnings, and will follow the journey of its passionate creativity and diversity of expression, as well as the political upheavals and the cultural revolution that were inextricably a part of it. Readings will include the work of Gertrude Stein, Allen Ginsberg, The Living Theatre, The Open Theater, The Performance Group, Richard Foreman’s Ontological-Hysteric Company, Charles Ludlam’s Ridiculous Theatrical Company, Mabou Mines, and others. We will also read 1968, Environmental Theatre, Be Here Now, Towards a Poor Theatre, and selected historical overviews. We will explore each group’s vision, body of work, dynamics, and relation and significance to their world. In line with this, students will write about these theatre companies, and create their own live performances and work, based on the readings, possible films, and discussions. Generally speaking, lectures will be on Mondays, and practicum work will be on Thursdays. This may vary week to week, and the syllabus is subject to change. COURSE OBJECTIVES It is my intention that each student gain a working knowledge and appreciation for this period in America’s theatrical history, and all the groups studied. It is my hope that each student will be inspired by this work and be able to incorporate the parts of the work studied that mean the most to them into their own artistic journey. Because for a number of the groups we will study there was a direct influence from Indian and Asian theatre on their work, it is my further hope that this seeding and influence can flow back from the US to Asia. We are one world, one community, and now more than ever, the theatre can serve as a place where we talk candidly with each other and share and create our dreams for a better world for everyone. CLASS SCHEDULE There will be required readings for each week, approximately 50 pages, which will be assigned to you the week before. You must read the material and bring your questions and inquiry to class. Students will also be required to keep an ongoing personal journal of their experience and insights with the work studied, and bring the journal to class every time. Feel free to be creative with your journals, i.e., writing drawing, painting, creating music, collage existing music. You are also free to read ahead and read as much as you want, see as many films as you can. Be thinking ahead about which groups you are drawn to in particular so that you can be thinking about your presentations. These presentations may be written out as well, but they will be an embodied expression of your sense and knowledge of the work fo the group you are presenting, that you will perform in class. You may use multi media, costumes, and props, or be very minimal, if that suits you and/or your chosen group. Let your imagination fill in for what you may not yet understand. Think 10-20 minutes for your presentations. Be prepared to talk about your presentation afterwards, answer questions and lead the discussion of the group for that day. We will use music, sound, video, film, and slides, as they are necessary, to augment all the work. Use the reading list as a jumping off place for your research. Material abounds. Get creative. Where possible you can go directly to the group’s website for in-depth information. If there are groups mentioned in this overview that are not on the syllabus per se, and they interest you, please feel free to research those groups as well. Hopefully this seminar will raise as many questions for you as it will answer. This was a complex and fertile time, and my hope is the our exploration of it will fire your own passion and imagination and ignite your dreams and visions for your own life in art. I lived these days when I was your age. I was a major player in the theatre the was happening in New York, and the politics that was happening around the world. I look forward to sharing as much of it with you as possible in our weeks together. Let’s have a wonderful time together! Before the first class, each student is required to look over the reading list and to read chapter five, “On the Gears of an Odious Machine,” pp. 81-102 from Mark Kurlansky’s book, 1968.) Week One: January 14: Introduction (Professor’s notes, logistics, contact sheet) Name Circle. January 17: Background (historical, social, political, economic, aesthetic) Readings tbd. Depending on enrollment numbers, different readings may be assigned to different students to for an oral report. See reading list for various topics, ex., Feminism, Civil Rights, the Vietnam War. Week Two: January 21: Background, readings tbd. January 24: Background, readings tbd. Week Three: January 28: Gertrude Stein, Ginsberg’s HOWL, abstract impressionists. Read HOWL and come to class ready to discuss. Get to know Gertrude Stein. For starters: https://www.nytimes.com/ 2012/01/29/books/review/reconsidering-the-genius-of-gertrude- stein.html January 31: Write a poem or prose paragraph in either the style of Ginsberg or Stein. Stage a protest. (Hand out TDR, T30 pages to read for Monday, Feb 4.) Week Four: February 4: Free Southern Theatre, Happenings, Guerrilla Theatre. Readings: Begin reading Environmental Theatre, by Richard Schechner, and choose your chapter/topic to focus on; Read pp. 23-72 in TDR, T30, on Happenings. I will provide hand-out to you the week before. February 7: Stage a Happening, or create a GT performance. Week Five: February 11: Environmental Theatre: The Performance Group. Come to class ready to give an oral presentation on a chapter/subject matter in Environmental Theatre. I will also talk about my experiences in the Group. Read Jerzy Grotowski’s Towards a Poor Theatre, and come with questions. February 17: TPG: slides, video sections, further discussion of chapters from Richard Schechner’s book Environmental Theatre, and Towards a Poor Theatre. I will show warmup exercises. Week Six: February 18: The Living Theatre. Read Artaud’s Theatre and its Double: choose a topic to discuss. Read pp. 30-73, in TDR, T22, which I will hand out. Read up on The Living Theatre, www.thelivingtheatre.org. February 21: Theatro Campesino, San Francisco Mime Troupe. Print- outs of readings will be available. Midterm paper is due on or before February 21st: 5-10 pages on one of the companies we’ve discussed or the forces that created this period in theatre history. Week Seven: February 23-March 3, Spring Break Week Eight: March 4: The Open Theatre. Read Carol Martin’s essay on The Open Theatre, in Restaging the Sixties, beginning on page 79; and Roger Babb’s essay, beginning on page 106. Select a chapter in either Joseph Chaikin’s The Presence of the Actor or Peter Brook’s The Empty Space, to read and report on. March 7: Create a 10-20 minute performance inspired by The Open Theatre. Week Nine: March 11: The Bread and Puppet Theatre. Read any of the available writings on their work: books in our reading list. I will provide a hand- out as well. March 14: Create a 10-20 minute performance inspired by The Bread and Puppet Theatre. Week Ten: Marcy 18: The Ridiculous Theatrical Theatre Company. Read any of the histories of the company, choose a play from The Complete Plays of Charles Ludlam to read and be ready to present a scene from it on Thursday. March 21: Present scenes from their work, ex., Irma Vep. Week Eleven: March 25: Mabou Mines. Read about any of their work and be ready to talk about it. How is this company unique? What kind of work do they still do? Choose a topic from The Theatre of Images:…The Red Horse Animation, by Lee Breuer, to report on. March 28: Create a performance based on their work, or a scene from a play of theirs. Week Twelve: April 1: Richard Foreman’s Ontological-Hysteric Theatre. Read The Theatre of Images: Pandering to the Masses, a Misrepresentation, by Richard Foreman, from the same book as for your previous assignment. April 4: Create a scene based on their work. Week Thirteen: April 8: Robert Wilson’s work: lecture and video. April 11: Create a performance based on his work. Week Fourteen: April 15: The Wooster Group and beyond. I will provide a hand-out. Also see their website: https://www.thewoostergroup.org. April 18: Final project and final paper due. For the final 10-20 page paper, you can write about any two or three groups and compare and contrast. Also include how these two or three groups’ work inspired you, or choose only one for this part of your paper. Your in-class project may be drawn from one or some or all of the work studied this semester.
Load more

Recommended publications
  • The-Vandal.Pdf
    THE FLEA THEATER JIM SIMPSON artistic director CAROL OSTROW producing director BETH DEMBROW managing director presents the world premiere of THE VANDAL written by HAMISH LINKLATER directed by JIM SIMPSON DAVID M. BARBER set design BRIAN ALDOUS lighting design CLAUDIA BROWN costume design BRANDON WOLCOTT sound design and original music MICHELLE KELLEHER stage manager EDWARD HERMAN assistant stage manager CAST (IN ALPHABETICAL ORDER) Man...........................................................................................................................Zach Grenier Woman...............................................................................................................Deirdre O’Connell Boy...........................................................................................................................Noah Robbins CREATIVE TEAM Playwright...........................................................................................................Hamish Linklater Director.......................................................................................................................Jim Simpson Set Design..............................................................................................................David M. Barber Lighting Design.........................................................................................................Brian Aldous Costume Design......................................................................................................Claudia Brown Sound Design and Original
    [Show full text]
  • Theatre & Performance
    CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle)
    [Show full text]
  • La Constellation Tzadik : 20 Ans/20 Disques the Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni Et David Konopnicki
    Document généré le 28 sept. 2021 08:11 Circuit Musiques contemporaines La constellation Tzadik : 20 ans/20 disques The Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni et David Konopnicki Tzadik : l’esthétique discographique selon John Zorn Résumé de l'article Volume 25, numéro 3, 2015 Sous la forme d’une série de courtes chroniques, cette enquête propose un parcours subjectif à six mains à travers le catalogue de la maison de disques URI : https://id.erudit.org/iderudit/1034501ar Tzadik. Les trois auteurs, fervents « tzadikologues », ont sélectionné un disque DOI : https://doi.org/10.7202/1034501ar par année, depuis 1995 jusqu’à 2014, en veillant à ce que leur choix rende compte de la totalité des collections qui font la richesse unique de Tzadik Aller au sommaire du numéro (Composer Series, New Japan, Radical Jewish Culture, etc.). À travers les travaux de différents artistes de multiples horizons (Annie Gosfield, Pamelia Kurstin, Many Arms…), cette « constellation » guidera le lecteur à travers un dédale de genres et de sous-genres de l’underground musical (de la noise au Éditeur(s) postminimalisme, en passant par le klezmer, le dub et la fusion), tout en faisant Les Presses de l’Université de Montréal apparaître en creux la personnalité de John Zorn comme défricheur de talents sans frontières. ISSN 1183-1693 (imprimé) 1488-9692 (numérique) Découvrir la revue Citer cet article Macé, P.-Y., Frigeni, G. & Konopnicki, D. (2015). La constellation Tzadik : 20 ans/20 disques. Circuit, 25(3), 95–109. https://doi.org/10.7202/1034501ar Tous droits réservés © Les Presses de l’Université de Montréal, 2015 Ce document est protégé par la loi sur le droit d’auteur.
    [Show full text]
  • The Flea Theater
    THE FLEA THEATER JIM SIMP S ON ARTISTIC DIRECTOR CAROL OS TROW PRODUCING DIRECTOR BETH DEM B ROW MANAGING DIRECTOR PRESENTS THE WORLD PREMIERE OF A LETTER FROM OMDURMAN WRITTEN BY JEFFREY M. JONE S DIRECTED BY PAGE BURKHOL D ER FEATURING HE AT S T B KATE SIN C LAIR FO S TER SET DESIGN JONATHAN COTTLE LIGHTING DESIGN WHITNEY LO C HER COSTUME DESIGN COLIN WHITELY SOUND DESIGN DAN DURKIN PROJECTION DESIGN JULON D RE BROWN STAGE MANAGMENT A LETTER FROM OMDURMAN CAST (IN ORDER OF APPEARANCE ) Dave...............................................................................................................Matt Barbot Charlie..........................................................................................................Wilton Yeung Wyatt................................................................................................................Will Turner Josie........................................................................................................Veracity Butcher Understudies: Eric Folks (Wyatt), Danny Rivera (Charlie & Dave) CREATIVE TEAM Playwright.............................................................................................................Jeffrey M. Jones Director................................................................................................................Page Burkholder Set Design......................................................................................................Kate Sinclair Foster Lighting Design......................................................................................................Jonathan
    [Show full text]
  • David Greenspan
    DAVID GREENSPAN PLAYS (PLAYWRIGHT AND ACTOR*) THE THINGS THAT WERE THERE * THE BUSHWICK STARR – DIRECTED BY LEE SUNDAY EVENS – 2018 THE BRIDGE OF SAN LUIS REY * TWO RIVERS THEATER – DIRECTED BY KEN RUS SCHMOLL – 2018 I'M LOOKING FOR HELEN TWELVETREES * ABRONS ARTS CENTER – DIRECTED BY LEIGH SILVERMAN – 2015 GO BACK TO WHERE YOU ARE * PLAYWRIGHTS HORIZONS – DIRECTED BY LEIGH SILVERMAN – 2011 CORALINE * – STEPHIN MERRITT/DAVID GREENSPAN MANHATTAN CLASS COMPANY – DIRECTED BY LEIGH SILVERMAN – 2009 OLD COMEDY TARGET MARGIN THEATER – DIRECTED BY DAVID HERSKOVTIS– 2008 SHE STOOPS TO COMEDY * PLAYWRIGHTS HORIZONS – DIRECTED BY DAVID GREENSPAN – 2003 DEAD MOTHER * NYSF/PUBLIC THEATER – DIRECTED BY DAVID GREENSPAN 1990 2 SAMUEL 11, ETC. HOME – DIRECTED BY DAVID GREENSPAN 1989 SOLO PERFORMANCE (*INDICATES ALSO PLAYWRIGHT) STRANGE INTERLUDE – EUGENE O’NEILL TRANSPORT GROUP – DIRECTED BY – JACK CUMMINGS III – 2017 COMPOSITION...MASTERPIECES...IDENTITY – GERTRUDE STEIN TARGET MARGIN THEATER – SELF-DIRECTED – 2015 THE PATSY – BARRY CONNERS TRANSPORT GROUP – DIRECTED BY JACK CUMMINGS III – 2011 THE MYOPIA* THE FOUNDRY THEATRE – DIRECTED BY BRIAN MERTES – 2010 PLAYS – GERTRUDE STEIN THE FOUNDRY THEATRE – SELF-DIRECTED – 2010 THE ARGUMENT* TARGET MARGIN THEATER – SELF-DIRECTED – 2007 PUBLICATIONS THE MYOPIA AND OTHER PLAYS BY DAVID GREENSPAN UNIVERSITY OF MICHIGAN PRESS – 2012 FOUR PLAYS AND A MONOLOGUE BY DAVID GREENSPAN NOPASSPORT PRESS – 2011 GO BACK TO WHERE YOU ARE SAMUEL FRENCH – 2013 SHE STOOPS TO COMEDY SAMUEL FRENCH – 2013 SELECTED ACTING CREDITS
    [Show full text]
  • Our City Dreams
    OUR CITY DREAMS A Documentary Film by Chiara Clemente 85 Minutes, Color, 2008 Digibeta, Stereo FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] Synopsis Filmed over the course of two years, OUR CITY DREAMS is an invitation to visit the creative spaces of five women artists, each of whom possesses her own energy, drive and passion. These women, who span different decades and represent diverse cultures, have one thing in common beyond making art: the city to which they have journeyed and now call home - New York. The artists profiled are Nancy Spero, who was at the forefront of the feminist movement of the late 50s and 60s and whose work continues to question the polemics of sexual identity and warfare; Marina Abramovic, a pioneer of performance art who uses her own body as a canvas to respond deeply to contemporary cultural issues; Kiki Smith, who addresses philosophical, social and spiritual aspects of the human body through work that incorporates glass, plaster, ceramic, bronze and paper; Ghada Amer, who paints erotic canvases in traditional needle and thread and who refuses to bow to the puritanical elements of Western and Islamic culture and "institutionalized feminism"; and Swoon, one of New York's most promising emerging artists, whose arresting and fugitive street art transmits the pulse of urban life. sDirector Chiara Clemente combines an intimate style of documentary filmmaking with the ephemera of city life surrounding each woman and the work she creates.
    [Show full text]
  • David Greenspan Resume
    DAVID GREENSPAN SELECTED PLAYS (PLAYWRIGHT AND ACTOR) THE THINGS THAT WERE THERE THE BUSHWICK STARR – DIRECTED BY LEE SUNDAY EVANS – 2018 THE BRIDGE OF SAN LUIS REY TWO RIVERS THEATER – DIRECTED BY KEN RUS SCMOLL – 2018 I'M LOOKING FOR HELEN TWELVETREES ABRONS ARTS CENTER – DIRECTED BY LEIGH SILVERMAN – 2015 GO BACK TO WHERE YOU ARE PLAYWRIGHTS HORIZONS – DIRECTED BY LEIGH SILVERMAN – 2011 CORALINE – WITH STEPHIN MERRITT MANHATTAN CLASS COMPANY – DIRECTED BY LEIGH SILVERMAN – 2010 SHE STOOPS TO COMEDY PLAYWRIGHTS HORIZONS – SELF-DIRECTED – 2003 DEAD MOTHER NYSF/PUBLIC THEATER – SELF-DIRECTED – 1990 THE HOME SHOW PIECES HOME FOR CONTEMPORARY THEATRE – SELF-DIRECTED – 1988 PRINCIPIA HOME FOR CONTEMPORARY THEATRE – SELF-DIRECTED – 1987 JACK HOME FOR CONTEMPORARY – SELF-DIRECTED – 1987 SOLO PERFORMANCE (*INDICATES ALSO PLAYWRIGHT) STRANGE INTERLUDE – EUGENE O’NEILL TRANSPORT GROUP – DIRECTED BY JACK CUMMINGS III – 2017 COMPOSITION...MASTERPIECES...IDENTITY – GERTRUDE STEIN TARGET MARGIN THEATER – SELF-DIRECTED – 2015 THE PATSY – BARRY CONNERS TRANSPORT GROUP – DIRECTED BY JACK CUMMINGS III – 2011 JONAS * TRANSPORT – GROUP – SELF-DIRECTED – 2011 THE MYOPIA* THE FOUNDRY THEATRE – DIRECTED BY BRIAN MERTES – 2010 PLAYS GERTRUDE STEIN – THE FOUNDRY THEATRE – SELF-DIRECTED – 2010 THE ARGUMENT* TARGET MARGIN THEATER – SELF-DIRECTED – 2007 PUBLICATIONS JONAS – CLOCKHOUSE – 2015 GO BACK TO WHERE YOU ARE – SAMUEL FRENCH – 2013 SHE STOOPS TO COMEDY – SAMUEL FRENCH – 2013 THE MYOPIA AND OTHER PLAYS BY DAVID GREENSPAN UNIVERSITY OF MICHIGAN PRESS – 2012
    [Show full text]
  • Pp. 106–116. © 2008 Richard Foreman
    106 PAJ 90 (2008), pp. 106–116. © 2008 Richard Foreman Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pajj.2008.30.3.106 by guest on 28 September 2021 (Facing page): Richard Foreman’s chart for DEEP TRANCE BEHAVIOR IN POTATOLAND. (Following two pages): selections from chart. FOREMAN / Deep Trance Behavior in Potatoland 107 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pajj.2008.30.3.106 by guest on 28 September 2021 108 PAJ 90 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pajj.2008.30.3.106 by guest on 28 September 2021 FOREMAN / Deep Trance Behavior in Potatoland 109 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pajj.2008.30.3.106 by guest on 28 September 2021 Selection From DEEP TRANCE BEHAVIOR IN POTATOLAND Richard Foreman On film: Jewish letter appears with moving numbers around it. Fade to English girl with arm up. Male Voice: Pose . pose for me On film: wipe back to Japan scene 2 Voiceover: The visitor sleeps Amidst the excitement of The experience Male Voice: Aware of no new theoretical basis Japanese Woman: You understand me immediately when I say . Male Voice: He that drinketh of this water Japanese Woman: Knock, knock Joel: Guarda la mia scarpa sporca Japanese Woman: You understand me immediately when I say . mental activity plus nobody home. Knock Knock Voiceover: Mental activity plus Male Voice: Alert, but no new theoretical basis Japanese Man: I understand you immediately when you say, I too am always in the same place. knock knock Voiceover: I understand you immediately when you say .
    [Show full text]
  • Richard Foreman Is Angry
    Liminalities: A Journal of Performance Studies 2.3 (2006) Richard Foreman is Angry Interview with Laura Winton Richard Foreman has created over 50 plays, for which he has received 5 Obie awards for best play and 5 others for his directing and “sustained achievement.” He has received a MacArthur “Genius” Fellowship, the PEN Club Master American Dramatist Award, and an award from the National Endowment for the Arts for “Lifetime Achievement in the Theatre.” In 1968 he founded the Ontological- Hysterical Theatre, housed at New York’s St. Mark’s Church in the Bowery, which has also been home to the influential Poetry Project since 1966. Foreman describes his work as “total theatre,” uniting “elements of the performative, auditory and visual arts, philosophy, psychoanalysis and literature.” His work is known for its nonlinear structures and exploration of language as well as for his unique stagings, fantastic costumes and sets. His work is difficult to sum up or generalize, but to say Richard Foreman’s theatre conjures a certain type of work for those who have experienced it, and it is, in fact, the experience that people talk about most. His plays have been collected and published in several volumes, along with his writing notes and manifestos, including Unbalancing acts: foundations for a theater, Reverberation machines: the later plays and essays, Plays and manifestos, No-body, My head was a sledgehammer, and Love & Laura Winton is a writer, performer, and doctoral candidate in the Department of Theatre at the University of Minnesota. She creates experimental works, often in the Dada and Surrealist tradition, and frequently works under the name Fluffy Singler.
    [Show full text]
  • The-Fre-Program-2.Pdf
    THE FLEA THEATER NIEGEL SMITH, ARTISTIC DIRECTOR CAROL OSTROW, PRODUCING DIRECTOR PRESENTS THE WORLD PREMIERE OF THE FRE BY TAYLOR MAC DIRECTED BY NIEGEL SMITH FEATURING THE BATS RYAN CHITTAPHONG, GEORGIA KATE COHEN, JON EDWARD COOK, ADAM COY, JOSEPH DALFONSO, NATE DECOOK, URE EGBUHO, JOAN MARIE, ALEX J. MORENO, MARCUS JONES, DRITA KABASHI, MATTHEW MACCA, CESAR MUNOZ, YVONNE JESSICA PRUITT, SARAH ALICE SHULL, LAMBERT TAMIN JIAN JUNG SCENIC DESIGNER MACHINE DAZZLE COSTUME DESIGNER XAVIER PIERCE LIGHTING DESIGNER MATT RAY COMPOSER, MUSIC DIRECTOR & SOUND DESIGNER SARAH EAST JOHNSON CHOREOGRAPHER ADAM J. THOMPSON VIDEO DESIGNER KRISTAN SEEMEL AssOCIATE DIRECTOR SOOA KIM AssOCIATE VIDEO DESIGNER REBECCA APARCIO & SARAH JANE SCHOSTACK AssISTANT DIRECTORS CORI WILLIAMS AssISTANT SCENIC DESIGNER & PROPERTIES DESIGNER HALEY GORDON PRODUCTION STAGE MANAGER CAST Hero............................................Ryan Chittaphong / Lambert Tamin Frankie Fre ..................................... Joseph Dalfonso / Alex J. Moreno Taylor Fre..................................Drita Kabashi / Yvonne Jessica Pruitt Maggie Fre..............................Geogia Kate Cohen / Sarah Alice Shull Bobby Fre (Frankie Fre U/S) ...........................................Nate DeCook Bobby Fre (Hero U/S) .....................................................Cesar Munoz Billy Fre ................................................Jon Edward Cook / Adam Coy Franny Fre ...................................................Ure Egbuho / Joan Marie Brody Fre ..........................................Matthew
    [Show full text]
  • The Body in Performance a Study Room Guide on Body Based Practices
    The Body in Performance A Study Room Guide on body based practices Compiled by Franko B 2005 LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Cover image credit: Franko B, I Miss You!, Tate Modern 2003, Photographer Hugo Glendinning The Body Study Room Guide by Franko B (2004/5) Franko B was invited to produce a guide looking at body based practices, including works employing the body as an artistic tool and site of representation. Franko approached the guide by drawing up a list of materials we hold that are important to him, of new materials we are in the process of acquiring and of materials he has generously donated to the Study Room. To accompany his list of recommendations he also conducted an interview with Dominic Johnson discussing his choices, their significance to him and to understandings of the possibilities of Live Art.
    [Show full text]
  • Premiere Issue
    I Premiere Issue Ralston Farinas Paris Letter What is Perfornance Art? Richard Foreman's Film Robert Wilson in Berlin Carolee Schneemann Fluxus Revisited Reviews Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pam.1979.0.1.1 by guest on 24 September 2021 $2.00 A Periodical of Performing Arts Journal Publications Publishers DEATH DESTRUCTION A DETROIT 31 WHAT IS PERFORMANCE ART? 22 Bonnie Marranca Gautam Dasgupta PARIS LETTER 24 (in the form of an Interview) Executive Editor Ralston Farina Bonnie Marranca AUTO-INTERVIEW 29 Editor John Howell Robert Wilson's Tale of Two Cities Design Gautam Dasgupta CAROLEE SCHNEEMANN 8 Staff Photographer Johan Elbers t 1979 by Performance Art Magazine. Performance Richard Foreman talks to Art Magazine is published four times a year by Per- himself (and whoever else is forming Arts Journal Inc. Editorial and business of- More Than Meat Joy listening) about Strong fice: P.O. Box 858; Peter Stuyvesant Station; New Medicine (un film) York; N.Y. 10009. Tel.: (212) 260-7586. Unsolicited FLUXUS 16 manuscripts must be accompanied by self- REVIEWS 35 addressed stamped envelope. Subscription rates per year: Individuals-$7.50; Libraries and Institu- PHOTO CREDITS tions-$12.00; Foreign, including Canada, add $3.00 Jean Jacques Almanza, 11; Shigeo Anzai, 38; Erro, per year for postage. Request for permission to -10; Henrik Gaard, 14; Deborah Goldstein, 43; Lois reprint any material in Performance Art Magazine Greenfield, 43; Howie Ires, 39; Peter Moore, 9; Rober- must be made in writing to the publishers. The Exquisite Corpse Stirs ta Neiman, 45; Denise Simon, 42; Alec Sobelewski, 12; Wolfgang Staehle, 41; Giles Thomas, 36; Bill Advertising rates will be sent on request.
    [Show full text]