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LMDA Review Other Publications
Spring 2001 LMDA Review, volume 11, issue 2 M. Louise Lytle
Ginny Coates
Winston Neutel
Crystal Beliveau
Cindy SoRelle
See next page for additional authors
Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview
Recommended Citation Lytle, M. Louise; Coates, Ginny; Neutel, Winston; Beliveau, Crystal; SoRelle, Cindy; Erickson, Nancy; Quirt, Brian; Copelin, David; Dixon, Michael Bigelow; Blackstone, Mary; Wright, Michael; Proehl, Geoff; Rankin, Wynn; Etemad, Nakissa; Yahil-Wax, Mirian; and Rand, Jonathan, "LMDA Review, volume 11, issue 2" (2001). LMDA Review. 22. http://soundideas.pugetsound.edu/lmdareview/22
This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors M. Louise Lytle, Ginny Coates, Winston Neutel, Crystal Beliveau, Cindy SoRelle, Nancy Erickson, Brian Quirt, David Copelin, Michael Bigelow Dixon, Mary Blackstone, Michael Wright, Geoff rP oehl, Wynn Rankin, Nakissa Etemad, Mirian Yahil-Wax, and Jonathan Rand
This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/22
Highlights Inside • The Experiment Tradition by Michael Bigelow Dixon • News From CEAD in Montréal by Crystal Béliveau • Community and the Development of Scripts for Stage and • Technology Notes by Winston Neutel Screen by Mary Blackstone • Office Update, New Address by Ginny Coates
The Newsletter of Literary Managers and Dramaturgs of the Americas Vol. 11, Issue 2 the lmda review Spring, 2001
“I believe that the basic requirement for all rehearsal work . . . is primarily a kind of doubting process.”
Peter Stein on dramaturgy and doubt
Section I: In Review
LMDA Conference 2001 June 7-10, 2001, Denver, Colorado: Dramaturgy and Community: Building and Maintaining a Healthy Theatre Ecology Venue: Denver Public Library, Downtown Plus Denver History Museum & Denver Center for the Performing Arts Full Conference Fee: LMDA member $160.00, LMDA student member $80.00 LMDA Banquet: $35.00 per person Accommodation Options: Denver Executive Towers, YMCA, Youth Hostel See the Conference Brochure (grey insert) enclosed in this mailing: a Cover Letter from Conference Chair Gretchen Haley, a 1-page Conference Contacts & Overview, a 2-page Conference Registration Form, and a 2- page LMDA Membership Form. Plan on joining us in Denver. Renew your membership, and register NOW! Please contact Conference Chair Gretchen Haley ([email protected]) or LMDA President DD Kugler ([email protected]) with any questions you have.
A. A LETTER TO THE Chair, I sensed that no matter how hectic or Meeting held in New York on December th MEMBERSHIP FROM THE LMDA layered my life as a teacher, producer and 16 , 2000 LMDA’s President DD Kugler, dramaturg might become in the upcoming the Executive Committee, the Board and I BOARD CHAIR MARK BLY year I had to accept this new challenge. As focused on many critical issues for our we enter the 21st century as an organization: When former LMDA President Geoff organization, there are a vast array of Proehl last spring, asked if I would be issues facing us in terms of survival and 1) How can the Board be more active in willing to take over as LMDA’s Board continued growth. At the four hour Board supporting the organization’s goals? the lmda review 11.2 (spring 2001): 2
2) The need for the Board to help unanimous approval by the voting Holcomb, and Carla Steen" was one of the define and promote LMDA’s growth membership quorum, but noted that under Guthrie's primary attractions, but plans for and movement to the next level. the guidance of the Advocacy Caucus we a new home that would expand the theatre's 3) Increased Board recruitment from now should collectively turn our attention mission to include more new plays added other artistic mediums. to the dissemination of the document as to the Guthrie's appeal. As for specific 4) Michele Volansky, Vice President proposed in Resolution Two and the plans for new play development Michael for Development, outlined our creation of sample contracts for dramaturgs states, "We're beginning with a clean slate fundraising goals and new strategies as proposed in Resolution Three. and the simple question, 'What will it mean for stabilizing and improving our to be a playwright at the Guthrie?' We'll be financial situation. Finally, we acknowledged at the meeting examining how the theatre wants to fill its 5) Expanding the LMDA membership the extraordinary work of Peggy Marks, new complex in 2004, and how the by focusing on promotion within the the former LMDA Board Chair, and Geoff programming will need to evolve from the existing college dramaturgy Proehl, our former LMDA President. Their Guthrie's 2001 season." Guthrie Artistic programs and recruitment through contributions to the organizational and Director Joe Dowling seems equally increased LMDA regional activities. intellectual growth of LMDA and its excited about the opportunity: "We are 6) The pressing need to re-examine the members has been incalculable: to thrilled to welcome Michael at this existing LMDA Bylaws and to bring paraphrase the contemporary philosopher important juncture in the Guthrie Theater's them in line with current practice and athlete, Yogi Berea, thanks to Peggy and history." to bring current practice in line with Geoff, dramaturgy’s “future ain’t what it the Bylaws. used to be!” Michael remained at Actors Theatre to 7) LMDA Annual Conference Planning complete the 2001 Humana Festival before for the upcoming June, 2001 event at * * * * * * taking on his new post at the Guthrie in the Denver Public Library with the April, 2001. theme of “The Ecology of a Theatre B. DIXON TO THE GUTHRIE Community.” * * * * * * BY OUISE YTLE 8) The need to secure a long-term office M. L L space for the New York LMDA This April Michael Bigelow Dixon, C. OFFICE UPDATE Office by June, 2002 at the latest (a BY GINNY COATES short term crisis was averted last Literary Manager and Associate Artistic Director of Actors Theatre of Louisville, year when Virginia Coates offered a In case you haven't heard yet, the LMDA spare room in her Brooklyn has left his home of more than 15 years to take on the role of Literary Manager at the office has moved. Unfortunately, due to an apartment for a temporary LMDA increase in rent and a looming threat that office). Guthrie Theatre in Minneapolis, Minnesota. While at Actors Theatre, the space was going to be sold, we were 9) The search for a permanent site for forced to find new accommodations. Our LMDA archival materials to preserve Michael was best known for his work on new play development, including new play new address is: P.O. Box 728, Village our history and to make them Station, New York, NY 10014. The new available for future research projects. commissions, the Humana Festival of New American Plays, supervising the National phone number is: 718-437-5462. The office 10) An update and discussion on the now resides in the home of the NYSCA Dramaturgy Residency One-Act and Ten Minute Play Contests, production dramaturgy, and the publication administrator, Ginny Coates. Program which eventually led to the establishment by DD Kugler and of Actors Theatre plays. He also developed the Classics in Context Festival, the Flying The move itself went smoothly, thanks to Maxine Kern of a relationship with the help of LMDA members Michael New Dramatists of New York. Solo & Friends Festival and the Free Theatre Project. He has also written Aman, Merv Antonio and Julie Hegner. 11) The need to continue and build upon Each gave up a significant amount of the excellent editorial standards numerous ten-minute plays with Val Smith and directed ATL's mainstage productions weekend time to help pack up the office Geoff Proehl has established in and move it. All materials, records, and developing and enhancing the of Nixon's Nixon, August Strindberg's Creditors (the first Free Theatre memorabilia have been safely transported LMDA Review during his tenure. and housed. It took a couple of weeks to 12) The pressing issue of advocacy for production), Margaret Edson's Pulitzer Prize-winning Wit and the Humana get everything unpacked and reassembled, the organization and the dramaturgy but all is now running smoothly. profession at large. Festival premiere of Standard Time by Naomi Wallace. His tenure at Actors This solution is short term and we are The last item generated an animated, Theatre has established Michael as one of the nation's foremost practitioners of new accepting any suggestions or passionate discussion as we recognized the information in regards to office space in significance of the work by Lynn Thomson play development. the New York City area. and the Advocacy Caucus in creating the pioneering document Proposed According to Mr. Dixon, "the chance to work with and learn from Michael Lupu, The job hotline has been disconnected, due Resolutions: To Improve Working in part to the move, but also due to lack of Conditions. We celebrated the near- James Houghton, Joe Dowling, Jo the lmda review 11.2 (spring 2001): 3 use. All job/internship information can be button to add it to the site. The content subsequently produced by Calgary’s found on the web and also look for management software updates the pages, Alberta Theatre Projects in January 2001. postings in the Review. adding the new entry in the right spot on the right page, making other changes (e.g.. Transmissions 2000: For many years now, Hopefully, this covers all the major updating links, or splitting a page that's CEAD and Playwrights’ Workshop changes brought about by the move. If any getting too large into two), and grouping Montreal have co-produced a translation further information is needed, contact the the pages by category or geography, for exchange whereby pieces by some of new address, phone number, or email example. Québec and Canada’s top playwrights address: [email protected]. make the fascinating transition from their This approach simplifies updating the web mother tongue to their ‘other’ tongue, take * * * * * * site, even if the editor enters the new info, the stage in the form of a public reading, because they only work with the change in and often go on to production. The D. TECHNOLOGY NOTES information—not building a web site. If collaboration has been instrumental in BY WINSTON NEUTEL others find it helpful as well, then the site creating a growing body of work in becomes a collaborative workspace for translation and in perfecting the art of The LMDA Discussion List continues to be managing the information it contains. The translation for the stage. the most-prominent aspect of LMDA's site could become the "home" for the Internet activity. There are now over 300 information, rather than holding a version, This year, Transmissions took on a new subscribers, who each receive copies of produced at one point in time, of data that twist: in an initiative to reach a larger pool every message sent to the list's e-mail is kept elsewhere. Such a system could be of English-language theatre professionals, address, and discussions have ranged over set up for just about any type of publication Playwrights’ Workshop Montreal decided a variety of topics. There is equal variety in people may want to collaborate on. to take two plays which already existed in the type of conversation. The list can be a English translation but which hadn’t been notice board, research resource, idea tester, * * * * * * read outside of Montreal, and to transport audience builder, source of advice, a cafe the readings to Toronto’s Tarragon for casual or theoretical discussion, or a E. NEWS FROM CEAD Theatre. The two Québécois playwrights to work space where decisions are made. MONTRÉAL participate in this new venture were Larry Tremblay, with his play Blue Hands BY CRYSTAL BÉLIVEAU (translated by Don Druick and directed by 3,200 messages have been sent to through CO-ORDINATOR OF ENGLISH- the discussion list in the past PWM Dramaturg-in-Residence Peter two-and-a-half years. With an estimated LANGUAGE ACTIVITIES Hinton), and Carole Fréchette, with her average of 200 subscribers over that time, play Elisa’s Skin (translated by John this means that the list has generated Le Centre des auteurs dramatiques (CEAD) Murrell and directed by PWM Artistic 640,000 e-mails. To subscribe, send the is an association dedicated to the Director Paula Danckert). message "subscribe discussion" (without development and promotion of Québec and the quotation marks) to French-Canadian plays and playwrights The evening of readings took place on [email protected]. both at home and abroad. It is perhaps best November 26, 2000. Beyond being a treat known outside Québec for its work in in itself, the event quickly bore fruit, as LMDA's web site at www.lmda.org is establishing partnerships, often in the form Carole Fréchette’s piece was picked up for growing into new areas. A of playwrights’ exchanges, with a host of production by Tarragon for its 2001-2002 password-protected area for members only theatre organisations throughout Canada, season. has been established and a the United States, Latin America, Great growing number of LMDA publications Britain and other European countries. What On December 6th, 2000, CEAD are being posted there, including the follows is a quick look at some of the reciprocated by commissioning the French regular serials like the LMDA Review and English-language activities in which translation of Don Hannah’s Running Far the Script Exchange, and publications like CEAD has been involved over the past Back and giving it a public reading in the Sourcebook or "the Guides" (for twelve months, as well as a preview of Montréal during CEAD’s 15th annual Internships or Academic Programs). what’s to come: Semaine de la dramaturgie. The play— translated by René Gingras under the title The Internship Guide will also be the first Banff playRites Colony 2000: In August, La Mémoire au poing and directed by experiment in the next step for the web 2000, CEAD member playwrights Serge Richard Fréchette—transported the rapt site: using simple databases for "content Boucher and Micheline Parent headed off public to a beach in New Brunswick, where management." One way this could be done to Banff with their respective translators the various truths of a family history would look like this: to your internship Shelley Tepperman and Linda Gaboriau, surfaced in flashes. program, you enter the details into a web where they worked on the English translations of 24 Exposures Celebrating Theatre from Quebec: On form. The editor has a password for an th th editing form where they view the new (Boucher/Tepperman) and Love’s Prey February 15 and 16 , 2001, The Americas entry, make any adjustments, and push a (Parent/Gaboriau). 24 Exposures was Society in New York hosted playwrights François Archambault, Jean Marc Dalpé, the lmda review 11.2 (spring 2001): 4
Carole Fréchette, Marie Laberge and Larry More exciting projects are in the works for "Theatrescapes: Intersections of Tremblay, who read extracts from their 2002, not the least of which is an Dramaturgy and Design" is jointly work in both French and English. international playwrights exchange with sponsored by the Dramaturgy and Sponsored by Quebec Government House Traverse Theatre of Edinburgh. Details to Design/Technology Focus Groups. Joining in New York, Celebrating Theatre from follow! us for this discussion is Anthony Dean, Québec was one of many events which Head of Production, Art, and Design for took place during the Celebrate Canada * * * * * * the Central School of Speech and Drama in program sponsored by the Canadian London. Participants in this session will Consulate General. examine current explorations in the fields F. LMDA AFFILIATES WITH of social geography and cartography as Québec New York 2001: From September ATHE they relate to the indigenous architecture of 13–October 7, 2001, Québec New York BY CINDY SORELLE the modern stage and contribute to our 2001 will give some of Quebec’s most understanding of how theatre space important artists the opportunity to LMDA is now an affiliate of the functions. showcase their work in ‘The Big Apple.’ Association for Theatre in Higher During this event, CEAD and its New York Education, joining ten other professional Lynn Thomson is organizing the 2001 partner The Public Theater will hold a organizations currently associated with Dramaturgy Debut Panel. Emerging mini-festival of Québécois theatre, ATHE. These organizations include dramaturgs may submit a project staged featuring public readings of For the National Association of Schools of Theatre within the last several years. Please contact Pleasure of Seeing her Again by Michel (NAST), Kennedy Center/American her if you want information about how to Tremblay, Motel Hélène by Serge Boucher, College Theatre Festival, submit a prospectus for this adjudicated Trick or Treat by Jean Marc Dalpé, Stone University/Resident Theatre Association session. She can be reached at and Ashes by Daniel Danis, The Four Lives (URTA), and International Theatre
"Theory"—Chair, Julian Olf, Professor of ♦ "Spanning the Gap Between st Report On Canadian Caucus: Theater, University of Massachusetts Playwrights and Directors: A 21 by Brian Quirt Friday, August 3 — 9:45 am to 11:15 am Century Approach"
♦ "Performing Politics in the Theater and LMDA Canada has undertaken three "Technology"—Chair, Jon Whitmore, Classroom" Provost, University of Iowa principal initiatives this year. The first is to ♦ "Technology, Teaching, Performance, co-host, after a one-year hiatus, the fourth Thursday, August 2 — 1:45 PM to 3:15 Collaboration" PM annual Mini-Conference on Dramaturgy, in ♦ "Innovation or Insult: The Non Ethnic association with the Toronto Theatre Practitioner Guiding Ethnic Centered "The New Student"—Chair, Rhonda Blair, Centre. The conference will be held on July Work" 9th and 10th at Buddies in Bad Times Professor of Theatre, Southern Methodist ♦ "Feminist Dramaturgs and Directors in University Theatre. Admission is free, but please the Liberal Arts: A Roundtable" RSVP to Brian if you plan to attend. There Saturday, August 4 — 5:15 PM to 6:45 PM will be a series of case study presentations, Exhibition Hall one of which will focus on Vancouver's Past Presidents' Panel Ponders ATHE's The Exhibit Hall is located on the 4th Floor Future The Past Presidents' Panel, Friday, Electric Company (presented by Rachel with the ATHE Conference Registration Ditor). As well, the afternoon of July 10th from 1:45 PM to 3:15 PM, will review the desk, the Red Lacquer Room, the Plenary progress that ATHE has made to reach its will be devoted to a round table discussion Session Hall. of play development models and current adolescence and speculate about the future of the theatre profession and what role issues, in part as preparation for the The Opening Reception is the place to LMDA's 2002 Annual Conference, to be ATHE will take in its future development. begin your networking. On Thursday, held in Vancouver. The second effort, August 2 — 7:15 PM to 9:00 PM, come to spearheaded by Henry Bakker, is a student Participants include: the Exhibit Hall to re-connect with Founding President Beverley Byers- initiative whose goal is to promote LMDA colleagues and make new acquaintances. amongst theatre students and scholars
the lmda review 11.2 (spring 2001): 6 across the country. Our goal is to increase to our American colleagues. LMDA hard work but great fun, and you get to the membership base and also to begin to members in the Toronto region have been work with colleagues gifted in diverse bring our theatre schools and academic meeting regularly this season to chat about ways. drama programmes into the lively various issues. I'm pleased to report that a discussion that already happens within number of graduate drama and dramaturgy I strongly recommend that American LMDA. The third project is a survey of students have been attending these casual dramaturgs touch base with the NEA fees and salaries commonly received by get-togethers and the resulting discussions Theatre Program as often as possible, dramaturgs for both freelance and have been wide-ranging and very useful. If keeping the agency folk informed of what's institutional work. I have had a good you plan to visit Toronto, contact me to see going on in the profession and in your response so far, and will be distributing my if your trip coincides with a meeting. particular theatres, dropping in for a chat preliminary findings in the spring whenever you're in Washington, and taking newsletter. I hope this information will * * * * * * advantage of any other opportunities for support the work done by the LMDA service that arise. Gigi Bolt and Eleanor Advocacy Committee and the Guideline to I. NOTE TO THE EDITOR Denegre are wise and sensitive people. Employment they have created. They can be of immense help in facilitating DAVID COPELIN the transmission of LMDA's perspective to Active membership in the Canadian places where it will do the most good for Caucus now totals 51, which includes quite Dear Geoff, us and for the art of the theatre. a few new members. There are a dozen lapsed members whom I hope will renew I've read the latest LMDA Review with David when membership-time comes up again in interest, and I'm pleased to learn that June. LMDA's relationship with the NEA is being strengthened. Dramaturgs have sat * * * * * * The Caucus published two newsletters in on the NEA's grant review panels before; for example, I served on the Theatre the past year, with a third planned for late May. The fall newsletter was sent to the Companies panel in 1986, and I believe there have been others. Such service is entire LMDA membership, as a means of continuing to promote Canadian crucial to keeping artistic quality and dramaturgical process and Canadian plays innovation high on the list of funding criteria. It's also a wonderful experience,
Section II: Essays and Articles
A. THE EXPERIMENT TRADITION comes the practice of breaking traditions, BY MICHAEL BIGELOW DIXON and that's provided subversive pleasure for In the early years of the festival, Jon and playwrights for centuries. his staff targeted under-utilized forms for [Note from Editor: This article originally exploration. Their creation of special appeared in the Humana Festival of New Recognizing that to be the case, Jon Jory projects for short plays and solo American Plays: 25 Years at Actors has used the Humana Festival of New performances contributed to international Theatre of Louisville, Edited by Michael American Plays not only as a showcase for interest in the ten-minute play and to the Bigelow Dixon and Andrew Carter new plays and playwrights, but as a kind of development of new voices for the Crocker, 2001. We hope it might lead to laboratory. In his quest for new dramatic American stage. Robert Schenkkan, for future pieces examining new play riches, he has continually encouraged example, was among the early soloists development programs in North America.] playwrights to break with tradition and whose success with The Survivalist in 1982 explore new possibilities in form, content aided his career move from actor to For playwrights, there's no formula for and collaboration. Sometimes his dramatist. Jane Martin's first work, Talking success — every new play is an encouragement came in the form of With, a collection of eccentric character experiment. Put some ideas in the unusual commissions; other times it was monologues, premiered that same year cyclotron of human imagination, spin those manifested by a willingness to produce before moving off-Broadway and then neurons, and sometimes a new play unconventional work — Gary Leon Hill's overseas, where it garnered the Best Play emerges. And sometimes it doesn't, environmental Food From Trash, complete of the Year Award from Theatre Heute because the equation of playwriting is full with dump truck and dumpster, comes to magazine in Germany. of variables. The playwright's only constant mind. These choices sent the following is her or his talent, but otherwise there are message to vigilant American Jon next whetted his appetite for no rules or binding conventions. There are playwrights—the Humana Festival would experimentation with documentary theatre. traditions, of course, but with tradition be a venue for theatricality and talent Beginning with Execution of Justice by informed by but unbounded by tradition. Emily Mann, Actors Theatre embarked on the lmda review 11.2 (spring 2001): 7 a five-year investigation into the play for twenty-two actors, began as a short staged readings at its Spring Festival of possibilities of docudrama. These plays story commission from Joan Ackermann, New Plays. SPC is not, however, able to included: Digging In by Julie Beckett which was then adapted for the stage by support the development of translations, Crutcher and Vaughn McBride, an eighteen playwrights. collectively devised scripts or production- encounter with Kentuckians whose lives based development. It is also looking for were sorely tested by 1980s farm policies; There have been other experiments in the ways to foster more professional Whereabouts Unknown by Barbara history of the Humana Festival— productions of its writers’ new work within Damashek, a musical call-to-action for the commissioning plays from novelists and and beyond the province and create broader homeless; Steven Dietz's riveting exposé of journalists, for instance, or The Mentor support and demand for such work among bigotry and murder in the white supremacy Project, which brought together established the public. movement, God's Country; and A Piece of and emerging playwrights for thematically My Heart, Shirley Lauro's moving account unified bills of one-act plays. All these The Saskatchewan Drama Association has of women who served in the Vietnam War. programs had their share of successes and 3,500 members representing every school These playwrights orchestrated personal near misses, but focusing on individual district in a province where Arts Education testimony into compelling socio-theatrical plays or projects obscures a larger vision has been a core element in the K-12 events whose revelatory powers emanated for the Humana Festival. curriculum for several years. They annually as much from their sense of "authenticity" host a series of regional festivals which as from their conventional dramatic In the creation of new theatre, experiment include prizes for new plays, but they have elements. is meaningless without tradition, and vice been unable to provide significant support versa. Each has value, each informs the for the development of young playwrights In the 1990s, we broadened our outlook on other, and together they create a powerful or specific scripts written either by young the ways in which new plays could be dialogue that speaks to the history and people or their teachers. There is also no "written," and Actors Theatre embarked on future of theatre. By promoting that corresponding organization concerned with a decade-long experiment with ensemble- dialogue through play and project the development of young writers for created work. Paul Walker's satirical selection, Jon ensured the Humana Festival screen or new media and even less deconstruction of Anthony Comstock's would retain its fascination—for himself, expertise in this area among teachers in the crusade against pornography, A Passenger the staff, audiences, critics and artists. Did school system. Train of Sixty-One Coaches, launched the we leave anyone out? series. It was followed by Brian Jucha's The Saskatchewan Writers Guild has been descent into the chaos of human passion, * * * * * * representing the interests of writers of all Deadly Virtues, Tina Landau's spirited tale disciplines for over 30 years and with a of sexual liberation, 1969, and Joanne B. COMMUNITY AND THE membership of more than 700 is regarded Akalaitis's celebration of Jack Kerouac's DEVELOPMENT OF SCRIPTS FOR as instrumental in making Saskatchewan literary life force, Ti Jean Blues. Anne the province with the largest number of Bogart and The SITI Company premiered STAGE AND SCREEN writers per capita in the country. The Guild several works, including War of the BY MARY BLACKSTONE provides substantial funding to SPC and Worlds, SITI's first collaboration with a collaborates with a local theatre to support playwright, Naomi Iizuka. In each of these Over the past couple of years in the an annual festival of short plays, but it has productions, the ensemble's unconventional Canadian province of Saskatchewan, had little success developing programs to wedding of text to choreography and several organizations concerned with the facilitate cross-over by its members into design produced virtuosic offspring in development of dramatic scripts for stage writing for screen or new media. performance. and screen have come together to form a partnership. Their objective has been to The Saskatchewan Motion Picture The Humana Festival's 20th century ended establish a Centre which can coordinate the Association represents nearly 400 with a series of wild experiments in media, developmental support and initiatives organizations and individuals venue and collaboration. The most already undertaken separately by each encompassing, most of those engaged in a critically successful of these was Richard organization and provide for cross-media booming film and video industry. SaskFilm Dresser's car play, What Are You Afraid and production-based development not is a non-profit funding agency established Of?, which took place in the front seat of otherwise available to provincial writers. and funded by the government in order to an automobile while audience members support not only film and video, but also watched this wicked comedy from the back Centre Partners new media. Its $6.3 million budget has had seat. The T(ext) Shirt Project transformed The Centre currently involves seven much to do with the industry’s rise from spectators into performers by outfitting partner organizations, each of whom are contributing $6 million to the province’s them in t-shirts with entire plays printed on looking to the Centre to augment their economy to more than $90 million in the the back. The Phone Plays brought drama established developmental activities. The past ten years. Both organizations are into the theatre lobby via pay phones, Saskatchewan Playwrights Centre supports concerned, however, that few films allowing theatregoers a chance to the development of theatre scripts and produced in the province are actually eavesdrop on "private conversations." And playwrights through one-on-one written by Saskatchewan writers or story Back Story, conceived as a two-character dramaturgy, readings, workshops and editors and that the general public in the the lmda review 11.2 (spring 2001): 8 province has little interest in and/or experimenting with developmental process or cross-border communities with common opportunity to view the work being and for exploring specific theoretical issues cultural concerns. produced here. and practical questions related to that process. For example, to what extent can Funding and Current Projects The final two partners are the University of the quite distinct practices commonly The “community” dimension of the Centre Regina and an affiliated college, the employed in the development of writing for makes it eligible for substantial funding Saskatchewan Indian Federated College, the stage and for the screen be usefully ($200,000/year) through the Community- which is one of few such institutions run employed in the other discipline? How do University Research Alliances program of wholly by aboriginal people in the either of these approaches apply to the the Social Sciences and Humanities Americas. Together the two institutions development of dramatic work for new Research Council of Canada. In the most offer opportunities for students to pursue media? To what extent do the different recent competition involving community undergraduate and graduate courses and dramatic media necessitate clear development projects in areas ranging from programs in creative writing; dramaturgy; distinctions in writing practices and health to housing, the Centre was ranked acting; directing; film, video and new approaches and to what extent are they just below the 15 projects for which media production. With new state-of-the- interchangeable? What developmental funding was available. In order to seriously art theatre facilities, as well as video and practices are best suited to non-text-based, support development within a production new media production equipment, the collective and popular work? How closely environment, funding on this order is University has appropriate facilities to can or should the development of scripts necessary, and the partners have been serve as a base for the Centre and more and writers be connected with the encouraged to apply again in the next than a dozen faculty spread across English, development of audiences for their work? round. Given their own substantial Arts Education, Theatre, Music and Media How valid is the special place commonly commitments to the Centre in kind and Studies with keen research interests and given to theatre over film or video in the cash, however, they have already begun to experience in the writing and development construction of “community?” To what initiate activities which do not require the of dramatic scripts. As well, SIFC has extent do specific dramatic formats and full proposed budget of nearly half a strong connections with the aboriginal narrative structures lend themselves to the million dollars per year. community throughout the province, which creation of “universal,” “global,” despite its sizable presence has so far had “imagined” or “particular” (e.g.— In 2000-2001 such activities involve comparatively little visibility in programs geographical, ethnic, racial, gender specific readings, workshops and the production of offered by the other Centre partners. or issue based) audiences? new work by a range of experienced to novice writers. These have included a Developmental Objectives Different dimensions of “community fringe festival consisting mostly of new In establishing The Centre for the Study of development” are actually a common work developed by students and alumni, Script Development, these partners are concern linking the Centre partners with with one especially successful piece by two attempting to create a less the province as a whole. In the face of women of colour. The festival gained compartmentalized writing and globalization and increasing urbanization, national media coverage and exceeded all development environment where writers an urban/rural split has developed in the expectations in achieving its objective to can pursue a dramatic idea more easily province. Many rural, prairie communities cultivate a young audience interested in across media formats; where professionals, regard the deterioration of their social, new, alternative theatre pieces. A academic researchers, students and other economic and cultural fabric as a palpable Playwrights Reading Series is featuring a amateurs can collaborate more freely; threat. These communities, along with mixture of emerging and internationally where interested writers can work from the many artists and some urban dwellers, feel established writers with a particular focus earliest stages of a dramatic idea either alienated and fear the loss of their cultural this year on writers who work collectively collectively or collaboratively with actors, identity. The Centre’s de-centered mandate and/or cross-over between stage and directors, designers, musicians and/or to develop community plays, popular screen. A Playwrights Reading Circle technicians; where scripts can be theatre and video pieces, as well as the meets regularly for the reading of work developed and promoted through work of individual writers, within the currently in progress and a similar Circle is production, either in the form of video community concerned is intended to being set up for screen writers and actors. demos or co-productions with theatre contribute to the strengthening and/or Workshops are being planned for students companies and media producers; and reconstruction of cultural identity. If and teachers in the school system, two where a variety of communities can communities are able to tell their own inner city theatre groups for troubled youth explore issues of importance to them stories—and potentially export some of and young aboriginal writers in northern and/or be reconnected with and gain input those stories—then they may feel less Saskatchewan. Along with a mentorship into the telling of their stories. alienated by globalizing developments. program for screenwriters in general, a Some groups such as our aboriginal program is planned to specifically target Research Questions and Results communities, ethnic and racial minorities the development of women screen writers Apart from providing a venue for the and inhabitants in Saskatchewan’s far north and encourage the participation of practical development of new work, the have long felt alienated from the provincial established women writers in other forms Centre has also been conceived as an “community” and welcome the potential of who wish to cross-over into screenwriting. environment for documenting and new technologies to link them with global the lmda review 11.2 (spring 2001): 9
Connections across Borders Both focus groups are very active in became the kernel for my notion of As Director of the Centre and a dramaturg ATHE. The Playwrights Program, of which "encounters of the first kind." connected with several of these I am a member, presents workshops and developmental projects, I am writing to panels, holds several business meetings, My background is largely in new play LMDA members to solicit advice and and oversees a growing number of play development. I worked with a group called feedback from colleagues involved with reading presentations. The play readings the New York Writers' Bloc from 1979 to similar developmental activities or research include the New Play Development 1992 in New York City; the Writers' Bloc issues. An important component of the Workshop for ten-minute plays; was a professional play workshop. Centre’s mandate is to connect writers and Playworks, a presentation of longer scripts; Following this involvement, I began to their work with a wider community: artists, the David Mark Cohen Award focus more on developing new work by producers, translators, dramaturgs, presentation, a reading of the winning students. I founded a program called researchers, organizations and audiences script in a combined ATHE and Kennedy PlayWorks at the University of Texas-El beyond our provincial boundaries. We are, Center/American College Theatre Festival Paso which ran from 1993 to 1998, and therefore, anxious to foster exchanges (KC/ACTF) competition; and Three by worked with two other programs: which could take the form of live readings, Three, the presentation of three selected WordBRIDGE Playwrights Lab at Eckerd reciprocal translation projects, electronic scripts from the Playwrights Program pre- College in St. Petersburg, Florida, and co-productions, virtual collectives linking conference. One of the Playwrights World Interplay in Townsville, Australia. “imagined communities,” and/or a Program's self-appointed missions is to collaborative festival cum conference seek out opportunities for conference-wide I am very interested in process, from all concerned with crossing the borders presentations. The four readings serve this angles. My PlayWorks program was constructed by geographical, cultural and mission by incorporating members from a unique in that the invited writers began a media boundaries. I would very much variety of ATHE focus groups, including new play from scratch and developed it for welcome responses from individuals or Dramaturgy, Directing, and Acting. three weeks in daily workshops. There was organizations who might be interested in no requirement to finish the play; such collaborative or exchange activities. The Dramaturgy focus group maintains a PlayWorks was designed to be a catalyst high profile as well. At the 2000 ATHE, for new work. At WordBRIDGE, which Mary Blackstone Dramaturgy sponsored ten panels, which works on principles similar to the Department of Theatre ranged from presentations such as the Sundance Playwrights Lab, I've functioned University of Regina "Dramaturgy Debut Panel" to highly as both director and dramaturg, working to Regina, Sask Canada S4S 0A2 theoretical sessions such as "Beyond explore how both positions can best serve [email protected] Semantics: The Obstacles of new work. World Interplay, an Transculturation" to co-sponsored practical international festival of young playwrights, * * * * * * events such as "Menage a Trois Parts 1 and has given me an opportunity to explore 2: Designers, Directors and Dramaturgs different practices and aesthetics through C. A COLLABORATIVE WORKSHOP (Rehearsal and Conversation)." working with playwrights from a variety of BY MICHAEL WRIGHT AND GEOFF Throughout the conference, Dramaturgy is countries around the globe. engaged in the readings programs in PROEHL conjunction with the Playwrights Program. All of these programs have a private and a Each ten-minute play is assigned a public element to them. I am interested in Part One: Creating the Workshop by dramaturg, and dramaturgs work with the the differences in these elements. Even if Michael Wright other plays as well. the work is only presented in-house, the At the Association for Theatre in Higher In its 1998 business meeting, the reading of a new play is still a performance Education (ATHE) 1999 conference in Playwrights Program discussed the and sometimes a very different experience Toronto, two focus groups, Dramaturgy possibility of joint sessions with for the playwright in comparison to the and the Playwrights Program, held a joint Dramaturgy. The membership was very private work of developing a new play. meeting. The purpose of the meeting was interested in pursuing this, and a dual Play readings are critical steps between to explore shared interests, and generate session was arranged for the 1999 Toronto initial development and production, but the future collaborations. One such conference. A number of ideas were shared reading can often introduce elements which collaboration was a workshop I designed, at the meeting in 1999, out of which a had not previously existed in the work which was accepted for the 2000 ATHE general sense emerged as a result: process. When a work is presented, the conference in Washington, DC. The playwrights and dramaturgs sometimes do play is given a certain legitimacy simply by workshop was called "Encounters of the not know enough about how the other being the thing of the moment: an event on First Kind: Playwrights and Dramaturgs works and thinks, and therefore working stage. The actors perform to the best of Working Together." together is occasionally tricky. Moreover, their ability, the audience is attentive, and while there is a more developed sense in everyone strives to make the play work-- A bit of background will help set the stage the professional realm, academics do not and thus it may seem to be solid. Behind for a discussion of the workshop itself. have a strong enough grasp of the two the scenes, in private, the playwright and areas. At the end of the session, possible artistic team can function without the workshops were discussed, including what pressure of performance, and an entirely the lmda review 11.2 (spring 2001): 10 different dynamic is in play. Everyone is significant problems with writing a new I came away from this experience feeling still working to make the play a stronger work. We agreed that they would both use extremely satisfied by what we had piece, but the context is quite distinctive the plays they had written for my book, accomplished. The working methods, because it is based on striving to deliver the neither of which had had any exposure. language and perspectives of dramaturgs playwright's vision through discussion, Gary's play, Cherry Reds, is an extended and playwrights in initial encounters were exploration, and experimentation. In the monologue for a woman who is leaving a ably demonstrated by the participants, and public presentation, the play is seen as the bad relationship. The play moves through the playwrights clearly received helpful property of the artistic team; in the private several locales and time periods, with other commentary on their work. The response environment, the play is seen more as the characters who are created by the solo of the audience was very positive and property of the playwright. In public, a character. Elena's play, Three Strings, is a enthusiastic. Every goal I had in mind was play which doesn't land with the audience piece for three women who are praying in reached--and often exceeded. is seen as a failure--discussion can often church over the death of a male relative of focus on "fixin'" the work; in private, the less than sterling character. The piece is Part Two: Reactions to the Workshop by play is considered to be in-progress, and written as an experiment with language as Geoff Proehl neither hit nor flop, but part of the music, chant and/or prayer, with the voices I was first of all struck by the skill of both playwright's ongoing evolution. The used in combinations of solos, duets, and dramaturgs and writers. It was a pleasure language we use in each context is trios. and privilege to watch these couples work. sometimes quite different, as is the purpose I was actually a bit skeptical about how of the language; subjective and objective I invited a group of dramaturgs to much we would come to understand in an viewpoints often vie for supremacy as participate. The population shifted several admittedly artificial set-up. We don't goals shift. times during the months between my usually have these conversations in front of original invitation and the conference in a room full of people. But Michael had I wanted to present partial elements of both Washington due to sundry work and done an excellent job of choosing the private and public in the ATHE workshop. personal conflicts. The dramaturgs who participants and structuring the exercise, so My basic question was "what do participated in Washington were Lenore that we did feel as if we were listening in dramaturgs and playwrights say to each Inez Brown, at that time with the on versions of this initial conversation. other in first meetings?" I decided that Crossroads Theatre, Dean Corrin, from The there should be two "first" meetings in the Theatre School at DePaul University, I was particularly interested in the various course of the program: 1) an encounter Heather Smith, a graduate student at ways dramaturgs initiate first time between dramaturg and playwright on the Villanova University, and Lynn Thomson, dialogues with writers prior to a reading. text alone, and 2) an encounter between from Brooklyn College. This was a very Noting these approaches is probably the dramaturg and playwright following a strong mix of backgrounds, points of view, most useful contribution I can make to this reading of the script. I did not have a and experience. report. For dramaturgs who have done this particular agenda with these first meetings, work for any amount of time, they may other than to encourage the parties to treat Geoff Proehl will provide the second half seen obvious but for those of us still the situation as they would in a real of the article with reactions to the learning or just beginning they should context. In other words, the conceit of the workshop session. I will conclude with a prove helpful. Here then are ways of workshop was that Theatre Z was brief description of how the workshop was beginning a conversation with a playwright interested in Play A. Dramaturg and organized and implemented. that emerged from the workshop. Some playwright would meet together with a may be more appropriate for a first ever view toward forwarding that interest. In mid-summer, I sent copies of the scripts conversation prior to a reading; others I also wanted a variety of perspectives with to the dramaturgs so they would have time might prove useful in any conversation two short plays that would be as different to prepare for the workshop. The structure about a script, before or after a first in tone, style, approach, language, etc., that of the workshop was very simple: I reading, in new collaborations or existing I could find. At the time of planning the assigned two of the dramaturgs to discuss ones. proposal, I was heavily involved in Gary's script, and two to discuss Elena's. In working on a new book, Playwriting order to keep the comments of one ♦ Begin with the history of the text. Has Master Class. I decided to invite two of the dramaturg from impeding the other, I asked it been produced or workshopped book's contributors to be the playwrights one to step out of the room while the other before? Ask the writer if s/he considers for the workshop. It would be simpler to was working with the playwright. After all it complete? Does it do what s/he have playwrights who would attend the four dramaturgs had met with their wants it to do? ATHE conference anyway, so I selected playwrights, we were joined by actors who ♦ Ask the writer if s/he has heard the Gary Garrison and Elena Carrillo, both of read the scripts aloud. This reading was play read? whom accepted. I asked them to write a followed by further commentary by the ♦ Ask the writer if s/he has issues or new play--ten minutes or less--for the dramaturgs. The session ended with questions that s/he wants to discover in ATHE project so we would have work questions and comments from the the reading? none of the dramaturgs had seen before. As audience. ♦ Ask the writer, what parts of the script time for the conference approached all too s/he is happiest about? Unhappy rapidly, both playwrights expressed about? the lmda review 11.2 (spring 2001): 11
♦ Begin the process as ignorantly as long term relationships and the structures the specific dramaturg with whom they are possible, allowing oneself to ask naïve that make them so difficult, such as the working. or literal questions (the challenge here tendency for writers to move from theater is for the dramaturg to distance to theater while the dramaturg stays at one 6. What does it mean to signal listening? Is him/herself enough from his/her own theater. If both the dramaturg and the it possible to signal it without actually experience to be a naïve audience) playwright are in residence, this becomes doing it? What does it mean to look for ♦ Read the piece but not so conceptually less of an issue. Even in this exercise, the problems as opposed to trying to find out as to create in your head an alternative second round of conversations (those that where the script is, what the script is? To play of your own occurred after the readings) seemed more fix or to explore? What is the effective role ♦ Begin by asking a general question, relaxed and productive. of silence? then move to more specific questions before making any suggestions 2. It is customary for dramaturgs to pay The work that the Playwrights Program and ♦ Offer thoughts and expressions homage to a process built on questioning, the Dramaturgy Focus Group has been without telling the writer how to solve but questioning as a category is quite doing in recent years to explore how problems broad. It would be good perhaps to dramaturgs and writers work together is ♦ Ask the writer, "What do you want examine this category and its sub- important. This collaboration is still from me?" categories more fully in future workshops. relatively new to many; we have much yet ♦ Listen with the whole body. What are the different kinds of questions to learn about how to make it more we ask? Can we do a taxonomy of them? effective. Workshops like these—the ♦ Ask the writer, "What inspired you to strategies they suggest and the questions write this piece or what is your motivating question?" ♦ clarifying questions they raise—move us along a path of mutual discovery. ♦ Offer thoughts and impressions instead ♦ implicitly prescriptive questions or
of prescriptions questions with an agenda [Note: For another take on initial ♦ Tell the story of the play to the writer ♦ questions that answers themselves ♦ questions that open a door for more conversations between dramaturgs and ♦ Ask the writer to describe the story in collaborators, in this instance, directors, see one sentence questions ♦ questions that are assertions Jane Ann Crum's piece, "Toward a Dramaturgical Sensibility" in Dramaturgy Other points emerged, but the heart of the 3. It is often not the first question but the in American Theater: A Source Book, workshop was this sense of an array of edited by Susan Jonas, Michael Lupu, and strategies for beginning to work with a second question that is most telling: the second question, for example, might reveal Geoff Proehl (Harcourt Brace, 1997).] writer on a script. Moreover, I was impressed with the skill and experience the subtext of the first. It might signal actual listening, responding to what the * * * * * * evident in the interchange between both writers and dramaturgs. It reminded me other person gives you, or it might signal a N NTERN ON NTERNSHIPS that new play development work is perhaps predetermined agenda. The second D. A I I the most challenging work that dramaturgs question often reveals the dramaturg's skill BY WYNN RANKIN, LMDA INTERN engage in; that dramaturging new plays is at opening up the conversation, of moving not an entry level position in the field; that to the next level of interacting, of being As a LMDA intern graduating in May from to do this job well requires an alive to the moment. the University of Puget Sound, the subject apprenticeship of some sort and then years of internships as a practical means through of experience. 4. What are the assumptions informing a which to gain experience in the theatre has particular conversation? For example, is it taken on a level of personal importance. As I listened, a number of question/issues assumed that the dramaturg and, if For this reason, I have taken a great interest occurred to me for future consideration. relevant, the theater for which s/he works in tracing the ongoing dialogue on the They were not necessarily occasioned by likes the piece? Or if not the piece, likes LMDA discussion list concerning specific dialogues so much as by the way the writer's work in general? Is it assumed internships and advocacy. Fortunately, I in which these conversations opened up that the dramaturg and writer are having recently had an opportunity to talk about thoughts about the process as a whole. this conversation to improve the script? Or internships with Louise Lytle, a current Here are a few of these lines of inquiry. is the purpose of the conversation more dramaturgy intern at Seattle’s A Some might provide jumping off points for simply to gather information that will aid Contemporary Theatre (ACT) and her future conversations. in mounting the script? supervisor, ACT’s Literary Manager and Dramaturg, Liz Engelman. 1. What is like to do this dance again and 5. What do playwrights think when they again? As a dramaturg? As a writer? I was hear over and over, "It’s just my Lytle, who is currently in the last months struck by the challenge of creating many response?" or "I don’t know, I’m just of her internship, will be taking on a full- times this working relationship from the throwing this out?" or a compliment and time position at ACT as a grant writer in ground up and the effort that must go into then a suggestion. How do playwrights June. In discussing internships, Lytle it. It made me think about the benefits of come to identify stages of conversations emphasizes clearly communicating that tend to repeat themselves regardless of the lmda review 11.2 (spring 2001): 12 expectations: “Theatre is such a social within an institution,” says Engelman, “and As someone who will soon be making the profession that to be forthcoming with [the therefore it is important to distinguish transition into a full-time staff position at institution] and to ask them to be between what literary management at your the institution where she is interning, Lytle forthcoming with you is a good place to institution is as well as what it is not.” suggest both perspective on and trust in the start.” institutional process. She says that “one In addressing financial concerns, Lytle mistake is thinking that theatre companies After establishing this strong foundation, suggests that perhaps the best advice, if at are ‘out to get you,’ because they are also Lytle suggests that a new intern should all possible, is to make a financial plan that taking time and effort to get something develop a “yes, and” attitude. This view includes a year-long internship, as well as from you, and may hope that such stems from her understanding that “I’m an undergraduate degree. She points out experience will make you a candidate for a there to learn . . . and I’m there also to take that “there’s value to [an internship] that’s future staff position.” If an internship is a whatever opportunity arises from the not necessarily monetary, and there are chance for practical training in literary situation, which more often than not other ways for a literary manager or for an management and dramaturgy, it is of no translates into a position of saying yes to all institution to value their interns.” Lytle’s benefit to anyone involved if that basic opportunities that come up and creating motivation for taking her internship at ACT goal is overlooked. new ones for yourself.” was in large part due to what she describes as “the understanding that the organization Lytle best sums up an approach to Engelman reiterates the importance of made a commitment to me, saying ‘we internships by returning to an image from being open to finding the practical want to make this happen for you, and if the theatre: “Just as every rehearsal process experience inherent in the structure of an that means we’re going to put you part time you enter requires a certain amount of trust internship. However, as a supervisor, she in our ticket office, or part time in our and a certain amount of commitment, so emphasizes “the responsibility to position house staff . . . we’re willing to make that too does an internship.” each job within the context of its greater work.’” Compromise and communication significance, rather than simply designating allow both the intern and the theatre to You may trace this ongoing and dynamic tasks.” “An internship is often the [former benefit. dialogue on the LMDA discussion list. student's] first experience in dramaturgy
Section III: Resources
A. SPOTLIGHT ON EARLY CAREER Please contact him by phone at (858)558- world. We have come up with questions DRAMATURGS 9486 or by e-mail at that we want to ask theater artists that we
* * * * * * company now constitutes one of the - Chekhov's idea of comedy world’s leading ensembles and you would B. EXCITING NEWS FROM THE be mad to miss it.” The Observer, London), D. PLAYSCRIPTS.COM I am taking the year off, and would like to WEST COAST BY JONATHAN RAND spend part of it in America. I have fond BY NAKISSA ETEMAD memories of my years at Stanford and my Playscripts.com is a full-service theatrical teaching and directing sprees there and at publishing company, optimized for the I want to extend a personal invitation to all UCSC. Multi-cultural theatre is my main dramaturgs and literary managers to the internet. Brothers Doug and Jonathan Rand field, i.e., theatre which transcends the established Playscripts.com in order to fifth annual New America Playwrights language barrier. My languages are English Festival at San Jose Repertory Theatre, just connect playwrights more effectively with and Hebrew, I read French, Italian, production opportunities, eliminating many forty minutes south of San Francisco. We Romanian, some German and Russian. I are very proud to feature the new work of of the barriers that often stand between am looking for a limited engagement as worthy new plays and the stage. Unique four amazing playwrights: Naomi Iizuka’s dramaturg or project director with a play Garuda’s Wing (Geva Theatre internet methods allow Playscripts.com to theatre, or as lecturer in a school where my promote, license, and distribute such plays commission), Lynn Nottage’s Las experience could be of use. Here's some Meninas, Polly Pen and James Milton’s directly to amateur and professional additional information: theaters worldwide, including literary musical Her Lightness. All the playwrights will be in attendance, plus five adaptor- managers and dramaturgs. Publications: The Shit Path, a play about playwrights for a panel discussion Israeli-Palestinian conflict` The First moderated by Len Berkman: Mark Cuddy, Visitors to the Playscripts.com website can Stone, a play about the experience of an peruse its exclusive catalogue online, using Steven Dietz, Polly Pen, Herbert Siguenza Arab woman; Without Premeditation, and Edit Villarreal. Unfortunately, our a search tool to locate plays by genre, poems. length, and cast size. The full text of each dates coincide with this year's LMDA Translations : Some 40 plays and novels conference, but if anyone can pop over to play appears online in an encrypted, read- (Stoppard, Dickens, McCullers, Lessing, only format, secured against printing and San Jose at any time Saturday or Sunday, Le-Carre, Oates, Atwood). Into English: please join us! If you are unable to attend, other unauthorized duplication. This online Village (Sobol), City (Babel). text allows readers to make decisions based consider asking your company or Academia: Lecturer in drama, Acting and university to send another representative. on the merit of the whole play, without Directing (Stanford University, UCSC, incurring a cost until they are ready to (Look for festival brochures and VIP Haifa University, Tel Aviv University). Package materials in the mail in early order acting editions and/or performance Artistic Director: National Theatre for the rights. To see how this process works, April.) For more info, contact Nakissa Young, Haifa International Festival Etemad, (Festival Director & Literary please visit our website: http://www.playscripts.com. Manager/Dramaturg of San Jose Rep), at And here's a list of some courses: 408-367-7206. Hope to see you there! In addition, Playscripts.com recently - Modern political drama (English, French, * * * * * * launched a free service called FINDaPLAY German- combined or separately) (http://www.findaplay.com), which allows C. COMING THIS WAY - The Irish Renaissance, nationalism and visitors to search the catalogues of all BY MIRIAM YAHIL-WAX, PH.D, theatre major North American play publishers by DRAMATURG - Political theatre in Greece: Euripides author and title. The Rands are very - Modern poetic drama interested in receiving feedback from - Introduction to drama LMDA members on how Playscripts.com After eight years as dramaturg and literary - What is a concept? Play analysis for manager of Gesher Theatre, (“One of the can best serve their needs in locating, directors (can be a workshop) choosing, and developing new plays. more remarkable companies in world - Play analysis for actors drama.” The Times, London. “The - Problems of translation and adaptation the lmda review 11.2 (spring 2001): 14
Literary Managers and Dramaturgs of the Americas: Board of Directors
Victoria Abrash, Arnold Aronson, Mark Bly (Chair), Jeremy Gerard, Christopher Gould, Lynn Holst, Allen Kennedy, Joyce Ketay, Jayme Koszyn, Diane Krausz, James Leverett, Lloyd Richards, Timothy Sanford, Tazewell Thompson, and LMDA’s Executive Committee: Merv Antonio (VP, NYSCA), Liz Engelman (VP, Communications), Maxine Kern (Treasurer), DD Kugler (President), Winston Neutel (VP, Technology), Geoff Proehl (Past President), Brian Quirt (VP, Canada), Michele Volansky (VP, Development)
Literary Managers And Dramaturgs Of The Americas
OUR OFFICE HAS MOVED . . . Here is the how to stay in touch. Our new phone number is 718-437-5462. Our email address is [email protected]. Our web address is www.lmda.org. Our new address is PO Box #728, Village Station, New York, NY 10014.
The current user name and password for member only sections of the LMDA web page (www.lmda.org) is “LMDA.”
The LMDA Review is a publication of Literary Managers and Dramaturgs of the Americas. LMDA thanks the New York State Council of the Arts for its generous and ongoing support.
Editor: Geoff Proehl, Univ. of Puget Sound Associate Editors: Laurie May and Wynn Rankin LMDA Interns, Univ. of Puget Sound Copyright, 2001. (This Review, past Reviews, and future Reviews are currently being archived in an online resource that will be available to LMDA members.)