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Curriculum Vita
LENORA CHAMPAGNE 3 Horatio Street, New York, NY 10014 212.924.6577 [email protected]; [email protected] websites: www.lenorachampagne.com; www.purchase.edu EDUCATION Ph.D. in Performance Studies, New York University, 1980 Thesis: "From `Imagination to Power' to the `Hyper-Real': May 1968 and French Theatre" Published as French Theatre Experiment Since 1968, UMI Research Press, l984 M.A. Drama, New York University, l975 B.A. English, Louisiana State University, l972 PROFESSIONAL EXPERIENCE—TEACHING Purchase College, State University of New York Professor and Coordinator of Theatre and Performance (presently) Kempner Distinguished Professor, 2008-2010 Royal and Shirley Durst Chair of Humanities, 2002-2004 Associate Professor, Drama Studies, Fall 2001 to Spring 2008 Assistant Professor, Drama Studies, Fall 1999 to Spring 2001 Member of Theatre and Performance, Dramatic Writing and Gender Studies Boards of Study New York University, Gallatin School for Individualized Study Adjunct Faculty, (Solo Performance Composition to graduate and undergraduate students) since 1980 Thesis and academic advisor for graduate students and for independent studies in performance art. Trinity College, Dept. of Theatre and Dance, Hartford, CT Artist-in-Residence, full-time faculty, l985 - 1989 Directed two productions annually, Main Stage and Black Box TEACHING: SOLO PERFORMANCE WORKSHOPS Trinity/LaMama, Fall 1995-2005 Sanctuary for Families, 1998-1999 (as Public Imaginations affiliated artist, Dance Theatre Workshop) Movement Research, Spring 1991-1993 -
Confrontation, Simulation, Admiration
Confrontation, Simulation, Admiration The Wooster Group’s Poor Theater Kermit Dunkelberg The punning title of The Wooster Group’s Poor Theater, shown as a work-in- progress in the spring and late fall of at the Performing Garage on Wooster Street in New York, invites many interpretations. Does it suggest the- atre that is: Poorly executed? Poorly funded? To be lamented? All of the above? Is this the Wooster Group’s retort to Grotowski’s “poor theatre” of reduced means and monastic discipline (Grotowski ), or their own version of it? The Wooster Group’s self-mocking, reverent/irreverent, high-tech/low-tech, nostalgic/derisive production questions the state of contemporary performance by trying on the styles of a vanished group (the Polish Laboratory Theatre, dis- solved in ) and a vanishing one (the Ballett Frankfurt, disbanded in August —half a year after Poor Theater had its first showing). My focus in this article is on the sections of Poor Theater that deal with Grotowski’s Polish Laboratory Theatre (–). I see the Wooster Group’s production in light of the history of reception/rejection/appropriation of Grotowski’s work in the United States. In the wake of Grotowski’s first American workshop at New York University in , Richard Schechner founded The Performance Group. In the mid-s, the Wooster Group grew out of The Performance Group, be- coming an independent entity in . Poor Theater is in part a confrontation with an ancestor. In the spring program, “The Director” noted the importance of ancestors: The writers, the great writers of the past, have been very important to me, even if I have struggled against them. -
Pentacle-40Th-Ann.-Gala-Program.Pdf
40 Table of Contents Welcome What is the landscape for emerging artists? Thoughts from the Founding Director Past & Current Pentacle Artists Tribute to Past Pentacle Staff Board of Directors- Celebration Committee- Staff Body Wisdom: Pentacle Celebrates Forty Years Tonight’s Program & Performers Event Sponsors & Donors Greetings Welcome Thank you for joining us tonight and celebrating this 40th Anniversary! In 1976 we opened our doors with a staff of four, providing what we called “cluster management” to four companies. Our mission was then and remains today to help artists do what they do best….create works of art. We have steadfastlyprovided day-to-day administration services as well as local and national innovative projects to individual artists, companies and the broader arts community. But we did not and could not do it alone. We have had the support of literally hundreds of arts administrators, presenters, publicists, funders, and individual supporters. So tonight is a celebration of Pentacle, yes, and also a celebration of our enormously eclectic community. We want to thank all of the artists who have donated their time and energies to present their work tonight, the Rubin Museum for providing such a beautiful space, and all of you for joining us and supporting Pentacle. Welcome and enjoy the festivities! Mara Greenberg Patty Bryan Director Board Chair Thoughts from the Founding Director What is the landscape for emerging dance artists? A question addressed forty years later. There are many kinds of dance companies—repertory troupes that celebrate the dances of a country or re- gion, exquisitely trained ensembles that spotlight a particular idiom or form—classical ballet or Flamenco or Bharatanatyam, among other classicisms, and avocational troupes of a hundred sorts that proudly share the dances, often traditional, of a hundred different cultures. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
1984 Category Artist(S)
1984 Category Artist(s) Artist/Title Of Work Venue Choreographer/Creator Anne Bogart South Pacific NYU Experimental Theatear Wing Eiko & Koma Grain/Night Tide DTW Fred Holland/Ishmael Cowboys, Dreams, and Ladders The Kitchen Houston Jones Julia Heyward No Local Stops Ohio Space Mark Morris Season DTW Nina Wiener Wind Devil BAM Stephanie Skura It's Either Now or Later/Art Business DTW, P.S. 122 Timothy Buckley Barn Fever The Kitchen Yoshiko Chuma and the Collective Work School of Hard Knocks Composer Anthony Davis Molissa Fenley/Hempshires BAM Lenny Pickett Stephen Pertronio/Adrift (With Clifford Danspace Project Arnell) Film & TV/Choreographer Frank Moore & Jim Self Beehive Nancy Mason Hauser & Dance Television Workshop at WGBH- Susan Dowling TV Lighting Designer Beverly Emmons Sustained Achievement Carol Mulins Body of Work Danspace Project Jennifer Tipton Sustained Achievement Performer Chuck Greene Sweet Saturday Night (Special Citation) BAM John McLaughlin Douglas Dunn/ Diane Frank/ Deborah Riley Pina Bausch and the 1980 (Special Citation) BAM Wuppertaler Tanztheatre Rob Besserer Lar Lubovitch and Others Sara Rudner Twyla Tharp Steven Humphrey Garth Fagan Valda Setterfield David Gordon Special Achievement/Citations Studies Project of Movement Research, Inc./ Mary Overlie, Wendell Beavers, Renee Rockoff David Gordon Framework/ The Photographer/ DTW, BAM Sustained Achievement Trisha Brown Set and Reset/ Sustained Achievement BAM Visual Designer Judy Pfaff Nina Wiener/Wind Devil Power Boothe Charles Moulton/ Variety Show; David DTW, The Joyce Gordon/ Framework 1985 Category Artist(s) Artist/Title of Work Venue Choreographer/Creator Cydney Wilkes 16 Falls in Color & Searching for Girl DTW, Ethnic Folk Arts Center Johanna Boyce Johanna Boyce with the Calf Women & DTW Horse Men John Jesurun Chang in a Void Moon Pyramid Club Bottom Line Judith Ren-Lay The Grandfather Tapes Franklin Furnace Susan Marshall Concert DTW Susan Rethorst Son of Famous Men P. -
One of Sixty-Five Thousand Gestures / NEW BODIES
60 One of Sixty-Five Thousand Gestures / NEW BODIES ONE OF SIXTY-FIVE THOUSAND GESTURES / NEW BODIES Emmett Robinson Theatre at June 7, 7:30pm; June 8, 7:00pm; College of Charleston June 9, 2:00pm and 7:00pm; June 10, 2:00pm One of Sixty-Five Thousand Gestures (2012) Choreography Trisha Brown and Jodi Melnick Music Hahn Rowe Costume Design Yeohlee Teng Lighting Design Joe Levasseur Dancer Jodi Melnick For Burt and Trisha NEW BODIES (2016) Choreography Jodi Melnick Music Continuum by György Ligeti Retro-decay by Robert Boston (Original Track created for NEW BODIES) Passacaglia by Henrich Biber Violin Monica Davis Harpsichord Robert Boston Costume Design Marc Happel Lighting Design Joe Levasseur Moderator Nicole Taney Dancers Jared Angle, Sara Mearns, Taylor Stanley 1 hour | Performed without an intermission The 2018 dance series is sponsored by BlueCross BlueShield of South Carolina. Additional support is provided by the Henry and Sylvia Yaschik Foundation. These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. Produced by Works & Process at the Guggenheim. One of Sixty-Five Thousand Gestures / NEW BODIES 61 YEOHLEE TENG (costume designer) is the founder of Choreography YEOHLEE Inc., a fashion enterprise based in New York. Teng believes design serves a function. She believes that “clothes JODI MELNICK (dancer/choreographer) is honored with have magic. Their geometry forms shapes that can lend a a -
“A True Original.” Jennifer Dunning, the New York Times
“A True Original.” Jennifer Dunning, The New York Times Contact Chris Elam / Misnomer Dance Theater 588 10th Street, Suite 4 Brooklyn, NY 11215 917-602-0478 [email protected] Video clips & Info. www.misnomer.org Founded in 1998 by choreographer Chris Elam, Misnomer Dance Theater is a six-person modern dance company that finds hope, humor, and absurdity in peoples’ efforts to relate to one another. Whether between adolescent sisters, estranged lovers, animalistic creatures, or abstract beings, Elam devises meaningful exchanges, sometimes producing poignant and awkward tenderness, at other moments resulting in fiercely dismal misunderstandings. Elam uses physical illusions as a tool to investigate personal and group transforma- tion: an arm sprouts out of an ear, a person becomes an ostrich, five dancers appear to share a single head. Assertive contact partnering in which dancers climb upon each other to form improbable human architectures serves to fuse performers into unusual entities. With commissions in Indonesia, Cuba, Brazil, Turkey, and Suriname, Elam approaches dance from the perspectives of an ethnographer as well as a choreographer. His study of traditional dances informs the technical and conceptual complexity of his modern-minded choreography. Drawing from his extensive training in both traditional Balinese and Modern Dance, Elam’s choreography integrates the angular, quick- action style of Balinese dance with his own broken-flow modern movement. The Village Voice’s Elizabeth Zimmer writes about his invented vocabulary, “Fusion -
Full Cast & Credits
DANSPACEPROJECT40 YOU MAKE THE DIFFERENCE. Help us celebrate 40 years of Danspace Project! Donate at danspaceproject.org/supportjoin ABOUT DANSPACE PROJECT Founded in 1974, Danspace Project presents new work in dance, supports a diverse range of choreographers in developing their work, encourages experimentation, and connects artists to audiences. Now in its fourth decade, Danspace Project has supported a vital community of contemporary dance artists in an environment unlike any other in the United States. Located in the historic St. Mark’s Church in-the-Bowery, Danspace shares its facility with the Church, The Poetry Project, and New York Theatre Ballet. Danspace Project’s Commissioning Initiative has commissioned over 450 new works since its inception in 1994. Danspace Project’s Choreographic Center Without Walls (CW²) provides context for audiences and increased support for artists. Our presentation programs (including Platforms, Food for Thought, DraftWork), Commissioning Initiative, residencies, guest artist curators, and contextualizing activities and materials are core components of CW² offering a responsive framework for artists’ works. Since 2010, we have produced eight Platforms, published eight print catalogues and five e-books, launched the Conversations Without Walls discussion series, and explored models for public discourse and residencies. FOLLOW US! Facebook: Danspace Project Instagram: DanspaceProject Twitter: @DanspaceProject Tumblr:danspaceproject.tumblr.com www.danspaceproject.org BE FIRST. Join us in celebrating 40 -
MEDIA STUDY/BUFFALO Januarywmay, 1984
MEDIA STUDY/BUFFALO JanuarywMay, 1984 Supported by the New York State Council on the Arts and the National Endowment for the Arts Schedule Staff BUSINESS MANAGER - Timothy J. McCann DATE TIME/PM PLACE Timothy McCann is a graduate of Niagara County Com- munity College and is continuing his education at the University of Buffalo School of Management. He is also JANVARY a member of the American Management Association. 27 (Friday) 8:30 MSIB YOSHIKO CHUMA - Independent Filmmakers FILM PROGRAMMER - Bruce Jenklns FEBRUARY Bruce Jenkins received a doctorate in Film from 2 (Thursday) 8:00 MS/B FESTIVAL PROGRAM 1 - Journey Across Three Continents Northwestern University where he served as an 3 (Friday) 8:00 MS/B FESTIVAL PROGRAM II -Journey Across Three Contents editor of Film Reader. He is project director of The 4 (Saturday) 8:00 HS PEARL BOWSER Presents Body and Soul - "Lost Films" American New Wave (1958-67) touring film series of the 1983 Robert Flaherty 8 (Wednesday) 8:00 MS/B BARBARA BUCKNER Video/Electronic Arts and was co-programmer 10 (Friday) 8:00 MSIB LIZZIE BORDEN - Independent Filmmakers Film Seminar. 11 (Saturday) 10:00 AM- VIDEO/ELECTRONIC ARTS CURATOR ~ AND MUSIC 5:00 PM THE ELECTRONIC NARRATIVE - A Daylong "Exploration" PROGRAMMER - John Minkowsky - VideolElectronic Arts - MS/B John Minkowsky did his graduate work at the Center for 11 (Saturday) 8:00 MS/B `BLUE' GENE TYRANNY - New Music Media Study at the State University of New York at Buf- 11 (Saturday) 8:00 HS UNKNOWN CHAPLIN - "Lost Films" falo and is currently editing a collection of essays, 15 (Wednesday) 8:00 MSIB SUSAN and ALAN RAYMOND - Video/Electronic Arts Design/Electronic Arts. -
RF Annual Report
1998 ANNUAL REPORT ABOUT THE FOUNDATION – THE FOUNDATION The Rockefeller Foundation is a philanthropic organization endowed by John D. Rockefeller and chartered in 1913 for the well-being of people throughout the world. It is one of America's oldest private foundations and one of the few with strong international interests. From its beginning, the Foundation has sought to identify, and address at their source, the causes of human suffering and need. In 1998 Foundation programs were organized around eight core strategies listed on the following page. Together, these strategies constituted the Foundation's commitment to help define and pursue a path toward environmentally sustainable development consistent with individual rights and a more equitable sharing of the world's resources. The Foundation's work in 1998 was divided among the following program areas: the arts and humanities, equal opportunity, agricultural sciences, health sciences, population sciences, global environment, and special African initiatives including female education. The balance of the Foundation's 1998 grant and fellowship programs supported work in building democracy, international security, international philanthropy, and other special interests and initiatives. While concentrating its efforts in these areas over the past year, the Foundation is in the process of adjusting its course and defining a new organizational program structure for 1999 and beyond. The Foundation maintains the Bellagio Study and Conference Center in northern Italy for conferences of international scope and for residencies for artists, scholars and policymakers, and other professionals from around the world. The Foundation is administered by its president through a staff working in six locations: New York City, Cairo, Nairobi, Mexico City, Bangkok and Lilongwe, Malawi. -
The Wooster Group Relives 30 Years of Controversial Exploit5--{)N and Off Stage
The Obse5slve guide to ·impulsive.entertainmelrt Jan-.ary 27-february 2, 2005 luu& No.. 487 $2.99 liDwm®ru ~~wYorRf Jan 27-Feb 2, 2005 lssue 487 Features :12 "It was familial , incestuous, dysfunctional" Experimental-theater company the Wooster Group relives 30 years of controversial exploit5--{)n and off stage. 20 "Christo and Jeanne Claude had this dream .. " Documentarian Albert Maysles has spent 26 years chronicling mega-installation The Gates. 24 "The comparison to Coldplay is misleading" Piano-driven Brit outfit Keane has perfected the art of the pop anthem. SeNice & Style Eat Out 27 Peek performance Open kitchens are like reality TV: Sometimes there's way more dirt than you ever wanted to see. Also this week in ... 30 Just opened Stan's Pl ace in Brooklyn Around Town Beauty and does Cajun its own way. squalor: Literary workshops Check Out celebrate the Bowery's past Art 35 Tress management A crop of new hair Rubens's dazzling draftsmanship products rescue our winter-worn manes. is revealed in a show at the 39 Critics' pick Graffiti-inspired stencils Met Books Better living through take street a:t indoors. chemistry: John Fall~ tells how war and Zoloft changed his Cl1ifl Out life Comedy Nightlife Awards ' 40 Health report Five health-food stores picks for best st and-up give a tum up, well, l)ugs and stuff. sneak peek of their ceremony 42 Just opened Fitness gets swi nging shtick Television BBC America with the Soho Dance Studio. brings two U.K. pol ice series to stateside viewers Departments 2 Letters 4 OutThere Shopping-cart showdown ...eavesdropper's o:ore ...... -
BAM Salutes to Jointheartistcircle Contactgwendolyndunaifat718.623.7810 [email protected]
2013 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, BAM salutes Chairman of the Board William I. Campbell, Members of the Artist Circle Vice Chairman of the Board Bodycast: Adam E. Max, for their generosity and commitment to providing Vice Chairman of the Board a home for adventurous artists, audiences, and ideas Karen Brooks Hopkins, An Artist Lecture by President Joseph V. Melillo, Suzanne Bocanegra Artist Circle Members Executive Producer Diane & Adam E. Max, Cheryl Henson & Ed Finn The O’Grady Foundation Starring Artist Circle Chairs Sophie Hughes Maya Polsky Alan Jones & Ashley Garrett William D. & Susan Kahan Rifkin Roger Alcaly & Helen Bodian Miriam Katowitz & Max Rifkind-Barron Frances McDormand Susan L. Baker & Michael R. Lynch Arthur Radin Mr. & Mrs. Theodore C. Rogers The Howard Bayne Fund Gene & Terry Kaufman Carley Roney & David Liu Roger & Brook Berlind Eileen M. Lach Bette & Richard Saltzman Mr. & Mrs. Anthony Bowe Solange Landau Jon & NoraLee Sedmak Mr. & Mrs. Purnendu Chatterjee The Levine Foundation Susan & Larry Sills Simon & Sarah Collier Briehan Lynch & In Memory of Robert Sklar Mary Sharp Cronson Alexander Evis Mr. & Mrs. Howard Solomon Joan K. Davidson Grace Lyu-Volckhausen Sam & Ellen Sporn (The J.M. Kaplan Fund) Mattis Family Foundation David & Aliana Spungen Beatrice & James Del Favero Hamish Maxwell Starry Night Fund Carol & Roger Einiger Scott C. McDonald Jean Stein David & Susie Gilbert Constance & John Strasswimmer Directed by Elaine Golin H. Roemer McPhee Wendy vanden Heuvel Pamela Grace Joyce F. Menschel The Robert W. Wilson Paul Lazar The Grodzins Fund Barbara & Richard Moore Charitable Trust Mr. & Mrs. Henry B. Gutman Alexandra Munroe & Carol Yorke & Gerard Conn Mr.