Programming Theater History
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Recovering and Rendering Vital Blueprint for Counter Education At
Recovering and Rendering Vital clash that erupted between the staid, conservative Board of Trustees and the raucous experimental work and atti- Blueprint for Counter Education tudes put forth by students and faculty (the latter often- times more militant than the former). The full story of the at the California Institute of the Arts Institute during its frst few years requires (and deserves) an entire book,8 but lines from a 1970 letter by Maurice Paul Cronin Stein, founding Dean of the School of Critical Studies, written a few months before the frst students arrived on campus, gives an indication of the conficts and delecta- tions to come: “This is the most hectic place in the world at the moment and promises to become even more so. At heart of the California Institute of Arts’ campus is We seem to be testing some complex soap opera prop- a vast, monolithic concrete building, containing more osition about the durability of a marriage between the than a thousand rooms. Constructed on a sixty-acre site radical right and left liberals. My only way of adjusting to thirty-fve miles north of Los Angeles, it is centered in the situation is to shut my eyes, do my job, and hope for what at the end of the 1960s was the remote outpost the best.”9 of sun-scorched Valencia (a town “dreamed up by real estate developers to receive the urban sprawl which is • • • Los Angeles”),1 far from Hollywood, a town that was—for many students at the Institute—the belly of the beast. -
Dramaturgy Handbook
Marat/Sade Emerson Stage 2007-08 Photo Brendan Koons DRAMATURGY STUDENT HANDBOOK Compiled by Magda Romanska, Ph.D. Head of Theatre Studies and Dramaturgy Advisor Emerson College Department of Performing Arts 120 Boylston St Boston, MA 02116 [email protected] 2 TTAABBLLEE OOFF CCOONNTTEENNTTSS WHAT IS DRAMATURGY? ........................................................................... 4 DRAMATURGY AND THE LIBERAL ARTS ............................................... 6 INSTITUTIONAL DRAMATURGY .............................................................. 7 PRODUCTION DRAMATURGY ................................................................. 9 AMERICAN VS. EUROPEAN DRAMATURGY ........................................ 13 DRAMATURGY PORTFOLIO .................................................................... 14 RECOMMENDATION LETTERS ............................................................... 15 DRAMATURGY CAREER RESOURCES ............................................... 17 INTERNSHIPS ......................................................................................... 17 GRADUATE PROGRAMS - M.F.A. /Ph.D. ............................................... 24 JOURNALS ......................................................................................................28 CONFERENCES & ORGANIZATIONS .................................................... 49 OTHER CAREER RESOURCES ............................................................. 53 DRAMATURGY BEYOND THEATRE DRAMATURGY FOR FILM SCRIPTS..................................................... -
European Modernism and the Resident Theatre Movement: The
European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Thomas E Postlewait, Chair Sarah Bryant-Bertail Stefka G Mihaylova Program Authorized to Offer Degree: School of Drama © Copyright 2013 Sarah Guthu University of Washington Abstract European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu Chair of the Supervisory Committee: Dr. Thomas E Postlewait School of Drama This dissertation offers a cultural history of the arrival of the second wave of European modernist drama in America in the postwar period, 1950-1970. European modernist drama developed in two qualitatively distinct stages, and these two stages subsequently arrived in the United States in two distinct waves. The first stage of European modernist drama, characterized predominantly by the genres of naturalism and realism, emerged in Europe during the four decades from the 1890s to the 1920s. This first wave of European modernism reached the United States in the late 1910s and throughout the 1920s, coming to prominence through productions in New York City. The second stage of European modernism dates from 1930 through the 1960s and is characterized predominantly by the absurdist and epic genres. Unlike the first wave, the dramas of the second wave of European modernism were not first produced in New York. Instead, these plays were often given their premieres in smaller cities across the United States: San Francisco, Seattle, Cleveland, Hartford, Boston, and New Haven, in the regional theatres which were rapidly proliferating across the United States. -
Short Synopsis a Young Woman Is
*** Please note: these production notes are for reference only and may contain spoilers. We would appreciate you not revealing the characters’ secrets in editorial or social postings without proper warning. The film is under embargo until Wednesday, February 21 at 10:30pm CET / 4:30pm EST / 1:30pm PST. Thank you. *** Short Synopsis A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear - but is it real or is it a product of her delusion? Long Synopsis Making a startling trip into thriller territory with Unsane, director Steven Soderbergh plunges audiences into the suspense and drama of a resilient woman’s (Claire Foy, The Crown) fight to reclaim her freedom even as she risks her own sanity. Scarred from the trauma of being stalked, quick-witted Sawyer Valentini (portrayed by Ms. Foy) has relocated from Boston to Pennsylvania for a new life. As her mother Angela (Academy Award nominee Amy Irving) misses her back home and her office job is hardly an ideal employment opportunity, Sawyer remains on edge following her two years of being terrorized. To consult with a therapist, she goes for follow-up treatment at the Highland Creek Behavioral Center. Sawyer’s initial therapy session at the suburban complex run by clinician Ashley Brighterhouse (Aimée Mullins, Stranger Things) progresses well — until she unwittingly signs herself in for voluntary 24-hour commitment. Unable to leave the premises, Sawyer finds herself in close quarters with previously committed hellion Violet (Juno Temple, The Dark Knight Rises) and savvy Nate (Jay Pharoah, Saturday Night Live), who is battling an opioid addiction. -
Downloaded by Michael Mitnick and Grace, Or the Art of Climbing by Lauren Feldman
The Dream Continues: American New Play Development in the Twenty-First Century by Gregory Stuart Thorson B.A., University of Oregon, 2001 M.A., University of Colorado, 2008 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre This thesis entitled: The Dream Continues: American New Play Development in the Twenty-First Century written by Gregory Stuart Thorson has been approved by the Department of Theatre and Dance _____________________________________ Dr. Oliver Gerland ____________________________________ Dr. James Symons Date ____________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB protocol # 12-0485 iii Abstract Thorson, Gregory Stuart (Ph.D. Department of Theatre) The Dream Continues: American New Play Development in the Twenty-First Century Thesis directed by Associate Professor Oliver Gerland New play development is an important component of contemporary American theatre. In this dissertation, I examined current models of new play development in the United States. Looking at Lincoln Center Theater and Signature Theatre, I considered major non-profit theatres that seek to create life-long connections to legendary playwrights. I studied new play development at a major regional theatre, Denver Center Theatre Company, and showed how the use of commissions contribute to its new play development program, the Colorado New Play Summit. I also examined a new model of play development that has arisen in recent years—the use of small black box theatres housed in large non-profit theatre institutions. -
The Circle.’ Back Row, Left to Right, Travis Vaden, Dou- Glas Weston, Nancy Bell, John Hines, Rebecca Dines and John-David Keller
38th Season • 365th Production MAINSTAGE / AUGUST 31 THROUGH OCTOBER 7, 2001 David Emmes Martin Benson Producing Artistic Director Artistic Director presents by W. SOMERSET MAUGHAM Scenic Design Costume Design Lighting Design RALPH FUNICELLO WALKER HICKLIN YORK KENNEDY Composer/Sound Design Production Manager Stage Manager MICHAEL ROTH TOM ABERGER *SCOTT HARRISON Directed by WARNER SHOOK AMERICAN AIRLINES, Honorary Producers PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Elizabeth Champion-Cheney ............................................................................ *Nancy Bell Arnold Champion-Cheney, M.P. ....................................................................... *John Hines Footman ................................................................................................. *John-David Keller Mrs. Anna Shenstone .................................................................................. *Rebecca Dines Teddie Luton ............................................................................................. *Douglas Weston Clive Champion-Cheney ...................................................................... *Paxton Whitehead Lady Catherine Champion-Cheney ........................................................... *Carole Shelley Lord Porteous .................................................................................. *William Biff McGuire Jr. Footman ..................................................................................................... -
The Beckett Collection Ruby Cohn Correspondence 1959-1989
The Beckett Collection Ruby Cohn correspondence 1959-1989 Summary description Held at: Beckett International Foundation, University of Reading Title: The Correspondence of Ruby Cohn Dates of creation: 1959 – 1989 Reference: Beckett Collection--Correspondence/COH Extent: 205 letters and postcards from Samuel Beckett to Ruby Cohn 1 telex message from Beckett to Cohn 1 telegram from Beckett to Cohn 1 postcard addressed to Georges Cravenne 5 letters from Cohn to Beckett (which include Beckett’s responses) 1 envelope containing a typescript of third section of Stirrings Still 2 empty envelopes addressed to Cohn Language of material English unless otherwise stated Administrative information Immediate source of acquisition The correspondence was donated to the Beckett International Foundation by Ruby Cohn in 2002. Copyright/Reproduction Permission to quote from, or reproduce, material from this correspondence collection is required from the Samuel Beckett Estate before publication. Preferred Citation Preferred citation: Correspondence of Samuel Beckett and Ruby Cohn, Beckett International Foundation, Reading University Library (RUL MS 5100) Access conditions Photocopies of the original materials are available for use in the Reading Room. Access to the original letters is restricted. Historical Note 1922, 13 Aug. Born Ruby Burman in Columbus, Ohio 1942 Awarded a BA degree from Hunter College of the City of New York 1946 Married Melvin Cohn (they divorced in 1961) 1952 Awarded a doctorate from the University of Paris 1960 Awarded a second doctorate from Washington University (Saint Louis, Mo.) 1961-1968 Professor of English and Comparative Literature at San Francisco State University 1969-1971 Fellow at the California Institute of the Arts 1972-1992 Professor of Comparative Drama at the University of California, Davis 1992-Present Professor Emerita of Comparative Drama at the University of California, Davis Ruby Cohn (née Burman) was born on 13 August 1922 in Columbus, Ohio, where her father, Peter Burman, was a veterinary student. -
Artists' Books : a Critical Anthology and Sourcebook
Anno 1778 PHILLIPS ACADEMY OLIVER-WENDELL-HOLMES % LI B R ARY 3 #...A _ 3 i^per ampUcm ^ -A ag alticrxi ' JZ ^ # # # # >%> * j Gift of Mark Rudkin Artists' Books: A Critical Anthology and Sourcebook ARTISTS’ A Critical Anthology Edited by Joan Lyons Gibbs M. Smith, Inc. Peregrine Smith Books BOOKS and Sourcebook in association with Visual Studies Workshop Press n Grateful acknowledgement is made to the publications in which the following essays first appeared: “Book Art,” by Richard Kostelanetz, reprinted, revised from Wordsand, RfC Editions, 1978; “The New Art of Making Books,” by Ulises Carrion, in Second Thoughts, Amsterdam: VOID Distributors, 1980; “The Artist’s Book Goes Public,” by Lucy R. Lippard, in Art in America 65, no. 1 (January-February 1977); “The Page as Al¬ ternative Space: 1950 to 1969,” by Barbara Moore and Jon Hendricks, in Flue, New York: Franklin Furnace (December 1980), as an adjunct to an exhibition of the same name; “The Book Stripped Bare,” by Susi R. Bloch, in The Book Stripped Bare, Hempstead, New York: The Emily Lowe Gallery and the Hofstra University Library, 1973, catalogue to an exhibition of books from the Arthur Cohen and Elaine Lustig col¬ lection supplemented by the collection of the Hofstra Fine Arts Library. Copyright © Visual Studies Workshop, 1985. All rights reserved. Printed in the United States of America. Except in the case of brief quotations in reviews and critical articles, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. -
Boulos, Daniel
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group Permalink https://escholarship.org/uc/item/8n50d91d Author Boulos, Daniel Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Daniel Boulos Committee in charge: Professor W. Davies King, Chair Professor Leo Cabranes-Grant Professor Simon Williams June 2018 The dissertation of Daniel Boulos is approved. _____________________________________________ Leo Cabranes-Grant _____________________________________________ Simon Williams _____________________________________________ W. Davies King, Committee Chair March 2018 Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group Copyright © 2018 by Daniel Boulos iii VITA OF DANIEL BOULOS EDUCATION Bachelor of Fine Arts in Theater, Montclair State University, May 1997 Master of Arts in Theater History and Criticism, Brooklyn College, June 2012 Doctor of Philosophy in Theatre -
HERBERT BLAU Degrees: Ph.D. 1954 Stanford University
HERBERT BLAU Degrees: Ph.D. 1954 Stanford University (English/American Literature) M.A. 1949 Stanford University (Speech and Drama) B.Ch.E. 1947 New York University (Chemical Engineering) Academic Experience 2000- Byron W. and Alice L. Lockwood Professor in the Humanities (English and Comparative Literature) and Adjunct Professor in School of Drama, University of Washington 1984-00 Distinguished Professor of English and Comparative Literature, University of Wisconsin--Milwaukee 1978-84 Professor of English, University of Wisconsin--Milwaukee 1974-78 Dean, Division of Arts and Humanities, and Professor of English, University of Maryland--Baltimore Co. 1972-74 Professor of the Arts (College and Conservatory) and Director of Inter-Arts Program, Oberlin College 1968-71 Founding Provost, and Dean of the School of Theater and Dance, California Institute of the Arts 1967-68 Professor of English, City College of the City University of New York 1950-65 Assistant Professor, Associate Professor, and Professor of English and World Literature, San Francisco State University Theater Experience 1971-81 Founder and Artistic Director, KRAKEN 1965-67 Co-Director, Repertory Theater of Lincoln Center, New York 1952-65 Co-Founder and Co-Director, The Actor's Workshop of San Francisco Other Academic Appointments 2006 Research Seminar, Institute for Theater Studies, Berlin 1995 Distinguished Visiting Professor, University of Copenhagen, Denmark 1993 Visiting Professor, University of Mainz, Germany 1984 Visiting Professor, University of the Bosphorus, Turkey -
Introduction 3
Reality Principles: From the Absurd to the Virtual Herbert Blau The University of Michigan Press, 2011 http://press.umich.edu/titleDetailDesc.do?id=3119291 Introduction 3 All of these essays, with one exception, were written just before or after the millennium, and while they re›ect upon each other, that ear- lier essay does, not only across the years, but from so long ago that I might have forgotten what it was about. It would seem to have been an irrelevance until, working on an autobiography, I happened to read it again, while remembering the dissident 1960s, spilling into the 70s, when classrooms were invaded, students were lecturing teachers, and relevance was a watchword. That my view of it all then, as a rather chas- tening lesson, is still germane today was con‹rmed by my wife Kath- leen Woodward, when she was recently asked to contribute to a special issue of Daedalus, where my essay was published over forty years ago, after a rather high-powered conference, sponsored by the American Academy of Arts and Science, “The Future of the Humanities.” That the future is still in question—and with the economy reeling, the job market worse than ever—is what Kathy was writing about.1 Much involved as she is with the digital humanities, a possible source of sal- vation, about which I know very little, she nevertheless quoted me in her essay (without saying I was her husband), because “Relevance: The Shadow of a Magnitude” had apparently left a reproachful shadow on what, in the academy today, remains misguided, unthought, or know- ingly hypocritical. -
G:\Archives\Ahxasst\Problem Files\2620096.Wpd
The materials listed in this document are available for research at the University of Record Series Number Illinois Archives. For more information, email [email protected] or search http://www.library.illinois.edu/archives/archon for the record series number. 26/20/96 Alumni Association Alumni W. McNeil Lowry Papers, 1941-93 TABLE OF CONTENTS Boxes Pages Biographical Note 2 Collection Overview 3-4 Biographical 1 5 Honors and Awards 1 5 Articles and Clippings 1 5 Oral Histories and Interviews 1 5-8 Writings and Speeches 1-3 8-13 Appointment Books and Calendars 3 13 Ford Foundation Subject File 4-5 13-14 Administrative Files 5-6 14-15 Humanities and the Arts Program Chronology 6-10 15-16 Subject File 10-39 16-58 Chronological Correspondence 15-16 22 Economic Survey 17 22 Program Planning and Budgets 25 31 Recording/Publication Program 25-26 31-34 Symphony Orchestra Program 29-31 36-38 Travel and Study Program 31-32 38-39 Lowry Travel 32-33 39-40 Comment Book 34 41-42 Program Conferences 35 42-51 Staff Work Field Notes 35-39 51-58 Personal and Professional Subject File 39-47 58-67 American Assembly 39-40 59-60 San Francisco Ballet 46 65 Symposia 46-47 65-67 Audiotapes Cassettes 48-51 67-68 Reel-to-reel 52-55 69-70 Videotape 55 70 Index to Finding Aid 71-72 26/20/96 2 BIOGRAPHICAL NOTE Wilson McNeil Lowry February 17, 1913 Born in Columbus, Kansas, the son of Benedict Harrison and Helen (Graham) Lowry 1934 Received A.