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THE SHORT VERSION RICHARD DRESSER’S plays have been produced in New York, regional theater, and Europe. They include ROUNDING THIRD, which started in Chicago, appeared off-Broadway and has had hundreds of productions. It was recently made into a film starring John C. McGinley and Garret Dillahunt for release in 2016. BELOW THE BELT and GUN-SHY, both started at the Humana Festival at Actors Theatre of Louisville before moving off-Broadway. BELOW THE BELT was made into a film called “Human Error” directed by Robert M. Young which appeared at Sundance. His trilogy of plays about happiness in America includes AUGUSTA (working class), THE PURSUIT OF HAPPINESS (middle class), and A VIEW OF THE HARBOR (upper class). Other plays are: THE LAST DAYS OF MICKEY & JEAN, SOMETHING IN THE AIR, THE DOWNSIDE, ALONE AT THE BEACH, WONDERFUL WORLD, and BETTER DAYS, plus many short plays. A new play, TROUBLE COMETH, about two executives locked in an existential struggle against an impossible deadline premiered at the San Francisco Playhouse in the spring of 2015 and another new play, CLOSURE, premiered in the summer at New Jersey Repertory Theatre in Long Branch, starring Wendie Malick and Gary Cole. Other projects include the book for a musical, JOHNNY BASEBALL (lyrics by Willie Reale, music by Robert Reale), about the Curse of the Red Sox, which premiered at A.R.T. in Cambridge, and moved on to the Williamstown Theatre Festival. A new bluegrass ghost musical, THE HOLLER (also with the Reale brothers) was workshopped at the Williamstown Theatre Festival. He recently finished “PUBLIC SPEAKING: Three short films starring Treat Williams.” He has also worked extensively in television. He created the web series “Life Coach” for AMC starring Cheri Oteri. He is a former member of New Dramatists and twice attended the O’Neill National Playwrights Conference. He currently teaches at Rutgers and is on the board of the Writers Guild Initiative, which does writing workshops with veterans and caregivers among other groups..

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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wUl be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 TELEVISUAL REPRESENTATION, SCHIZOPHRENIC EXPERIENCE, AND APOCALYPTICISM IN LATE TWENTIETH-CENTURY DRAMA AND THEATRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Roger Dee Freeman, B.A., M.A.
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CATF-Program 2015.Pdf
2015 World Builders by Johnna Adams • Everything You Touch by Sheila Callaghan • On Clover Road by Steven Dietz • WE ARE PUSSY RIOT by Barbara Hammond • The Full Catastrophe by Michael Weller 2014 The Ashes Under Gait City by Christina Anderson • One Night by Charles Fuller • Uncanny Valley by Thomas Gibbons • North of the Boulevard by Bruce Graham • Dead and Breathing by Chisa Hutchinson 2013 A Discourse on the Wonders of the Invisbile World by Liz Duffy Adams • Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them by Jon Kern • H2O by Jane Martin • Heartless by Sam Shepard • Scott and Hem in the Garden of Allah by Mark St. Germain 2012 Gidion’s Knot by Johnna Adams • The Exceptionals by Bob Clyman • In a Forest, Dark and Deep by Neil LaBute • Captors by Evan M. Wiener • Barcelona by Bess Wohl 2011 From Prague by Kyle Bradstreet • Race by David Mamet • Ages of the Moon by Sam Shepard • We Are Here by Tracy Thorne • The Insurgents by Lucy Thurber 2010 The Eelwax Jesus 3-D Pop Music Show by Max Baker & Lee Sellars • Lidless by Frances Ya-Chu Cowhig • Breadcrumbs by Jennifer Haley • Inana by Michele Lowe • White People by J.T. Rogers 2009 The History of Light by Eisa Davis • Yankee Tavern by Steven Dietz • Dear Sara Jane by Victor Lodato • Fifty Words by Michael Weller • Farragut North by Beau Willimon 2008 Stick Fly by Lydia R. Diamond • A View of the Harbor by Richard Dresser • Pig Farm by Greg Kotis • WRECKS by Neil LaBute • The Overwhelming by J.T.
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I. Student Advising 1997 1997 1997
MELIA BENSUSSEN Emerson College (home) 120 Boylston Avenue 132 Sewall Avenue, #1 Boston, MA 02116 Brookline, MA 02446 (617) 824-8368 (617) 739-2240 home [email protected] (617) 461-4835 cell PROFESSIONAL APPOINTMENTS 2008 – 2019 Chair, Department of Performing Arts Associate Professor Emerson College, Boston, MA 2007 – 2008 Interim Chair, Department of Performing Arts Associate Professor Emerson College 2006 – 2007 Associate Professor, Emerson College Producing Director, Emerson Stage 2000 – 2006 Assistant Professor, Emerson College Producing Director, Emerson Stage Emerson College Awarded the 2003-04 Norman and Irma Mann Stearns Distinguished Faculty Award 1986 – present Free-Lance Theatre Director Over 80 productions in New York City and nationwide. Winner of the 1999 Obie for Excellence in Directing 1996 - 2000 Head of Directing, Assistant Professor, SMU Responsible for creating and running MFA in Directing program. Received NAST accreditation for the MFA program within two years. Recipient of the Dean’s Prize, 1997 and 1999. 1998 - 2000 Artistic Consultant, Shakespeare Festival of Dallas Forged partnership between SMU and the Shakespeare Festival. Collaborated on the Festival’s restructuring, created a five-year plan, as well as consulting on season scheduling, fundraising, educational programs, casting and marketing. 1997 - 1998 Artistic Associate, San Jose Repertory Theatre New Play Festival Artistic Director. Selected and dramaturged new plays, directed workshops, and created a new marketing strategy which succeeded in doubling attendance. 1990 - 1993 Associate Artist, New York Shakespeare Festival Produced and directed a season of new adaptations and translations, including works by Brecht, Euripides, Kroetz; translated by Regina Taylor, Arthur Giron, and others. 1986 - 1990 Associate Director, Festival Latino in New York, NYSF The Festival produced companies from throughout Latin America and Spain.
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playcastplus 2021 SEASON P1 • JULY 2021 • playcastplus • CATF.ORG From the Founder & Producing Director ED HERENDEEN WELCOME It is with great pleasure I welcome you back to our artistic home. I am looking forward to being with you again and celebrating Summer 2021 with our partners Shepherd University and Shepherdstown. Let’s be together on the historic streets of our friendly small town and enjoy LIVE dynamic music, poetry, and two CATF playcasts. It’s time to be together again. It’s time to connect and enjoy the art of conversation. It’s time to breathe fresh air and celebrate summer in West Virginia. We miss you. We miss telling you stories and sharing the power, the excitement, and the thrill of the Contemporary American Theater Festival. It’s what we do! It’s what we do together that matters. We are happy to be with you again. Welcome Home! Ed Herendeen FOUNDER & PRODUCING DIRECTOR P2 • JULY 2021 • playcastplus • CATF.ORG We believe that BLACK LIVES MATTER. We believe that every voice must be heard. We believe that every person must be seen. We believe that together, we have the power to build a better world. CATF IS IN SOLIDARITY WITH BIPOC AND AAPI COMMUNITIES. P3 • JULY 2021 • playcastplus • CATF.ORG playcastplus ED HERENDEEN TABLE OF CONTENTS Founder & Producing Director PEGGY MCKOWEN LETTER FROM THE PRODUCING DIRECTOR ............................2 Associate Producing Director EBONÈE HELMICK SOLIDARITY STATEMENT ............................................3 Business Manager CATF INSTITUTIONAL FUNDERS ......................................5 TRENT KUGLER Production Manger LETTER FROM THE PRESIDENT OF THE BOARD ........................6 CHASE MOLDEN Production & Props Supervisor LETTER FROM THE PRESIDENT OF SHEPHERD UNIVERSITY .
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DOCUMENT RESUME ED 458 897 JC 020 004 AUTHOR Curry, Mary Jane TITLE Competing Goals, Competing Discourses: ESL Composition at the Community College. PUB DATE 2000-00-00 NOTE 220p.; Doctor of Philosophy Dissertation, University of Wisconsin-Madison. PUB TYPE Dissertations/Theses Doctoral Dissertations (041) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Academic Persistence; Capital; Community Colleges; Cultural Background; Cultural Relevance; Culture; *English (Second Language); *Part Time Faculty; Social Capital; *Student Attrition; Student Needs; Two Year Colleges IDENTIFIERS Bourdieu (Pierre); Cultural Capital; Freire (Paulo) ABSTRACT This study examined the experiences of participants in a basic writing course in a Midwestern community college. Two-thirds of the 18 students were highly educated students from Russia, Turkey, Japan, Korea, and Taiwan who were retirees, spouses of Americans, spouses of international students at the local university, or spouses of foreign technical elites. The class also had students with low educational attainment levels, including students from Laos and Sierra Leone. Students' goals ranged from improving their English to entering community college programs in law enforcement and accounting to earning bachelor's and master's degrees. This study traces the factors involved in the course's 75 dropout rate. Using sociocultural discourse analysis, it unravels the roles of the part-time status of the instructor, the varying backgrounds and goals of the students, and the lack of institutional support and services for students and the instructor. Students' disparate educational backgrounds, life situations, and future goals posed serious challenges to the predetermined curriculum and the traditional pedagogy the instructor used. The college's heavy reliance on part-time instructors typified staffing patterns at community colleges.
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Bibliography
Literary Managers and Dramaturgs of the Americas: Bibliography Contents Introduction Section I: Production Dramaturgy Section II: New Play Development Section III: On Understanding the Dramaturgy of a Play and the Relationship Between Script And Performance Section IV: Dramaturgy beyond the Stage Section IV: General Resources Section V: Digital Resources Last edited: 6/18/2013 ©2013, Literary Managers and Dramaturgs of the Americas 2 Introduction The LMDA Bibliography is a project of the University Caucus of Literary Managers and Dramaturgs of the Americas. To correct or add a citation, contact Jules Odendahl-James, Theater Studies, Duke University, Campus Box 90680, 109 Flowers Bldg., Durham, NC 27708; phone, 919-668-4049; [email protected]. This guide is available online at the LMDA web site within the University Caucus section. This bibliography owes much to earlier bibliographies by Geoff Proehl, Rosemarie Bank (1983) Laurence Shyer (1978), both cited below. Thanks as well to many members of Literary Managers and Dramaturgs of the Americas who suggested titles for inclusion here. Another rich source of writings on dramaturgy and literary management is available through back editions of the LMDA Review. Current issues of the Review are available through LMDA’s website: www.lmda.org. Back issues may be found in the LMDA Online Archive. The archive is accessed through “Member Resources/University Caucus.” If you would like to volunteer to work on this bibliography as a guest editor, please contact Geoff Proehl at [email protected]. Guest editors work to improve the bibliography by checking existing citations and adding new citations. Key — * = Copy in the LMDA Archive ! = incomplete citation Underlined = added after July 2011.
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Working Draft Send Suggestions for Additions to [email protected]
1 WORKING DRAFT SEND SUGGESTIONS FOR ADDITIONS TO [email protected] Literary Managers and Dramaturgs of the Americas: Dramaturgy Bibliography A Work-In-Progress Introduction Section IA. Dramaturgy, Production Dramaturgy, Adaptation, Translation, New Media B. Dramaturgy of Dance and Movement Section II: New Play and Devising Dramaturgy Section III: Dramaturgy of Text and Performance Section IV: Dramaturgy Beyond the Stage Section V: Dramaturgy/General Resources Section VI: Dramaturgy/Digital Resources Section VII: Resources in Languages Other Than English: A Beginning The reader will find information and citations added since the last update of the bibliography highlighted in yellow. We have place an asterisk (*) in front of all book-length studies. We have place plus sign (+) in front of all journals devoted to articles/essays on dramaturgy. ©2020, Literary Managers and Dramaturgs of the Americas Introduction The LMDA Dramaturgy Bibliography is a proJect of Literary Managers and Dramaturgs of the Americas. Its focus is English-language books, essays, and articles on dramaturgy, the dramaturg, and literary management. It was once possible to imagine a more or less complete and comprehensive list of citations. In recent years, a complete bibliography of the field has become an unwieldy, if not impossible, task. This goal of this work-in-progress is to chase this rapidly growing field as best as it can, looking for writing that is pushing forward the conversation about what dramaturgy is and dramaturgs do in theatre and beyond. This bibliography owes much to pioneering bibliographies by Rosemarie Bank (1983) and Laurence Shyer (1978), both cited below. Thanks as well to many members of Literary Managers and Dramaturgs of the Americas who suggested titles for inclusion here.
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Magazine Covers Winter6
Lll LowellUMass MAGAZINE WINTER 2003 VOLUME 7 NUMBER 1 From Bedford to Broadway “If There’s Something You Really Want, You’ll Find a Way to Make it Happen.” — Bonnie Comley Page 18 Dear Alumni, Parents, and Friends: It has never been more clear that the University of Massachusetts Lowell and the entire University of Massachusetts system have an enormously important role to play in helping to strengthen the economy and social vitality of the state. Our immediate region, the Merrimack Valley, suffered some of the worse job losses in the nation during the recent economic downturn. Particularly hard hit were high-technology businesses. Through this difficult period, the Lowell campus has pressed ahead with innovative research and assistance for new business ventures, all in service of our mission to support sustainable regional development. Related to this charge, we have organized a new regional development office to further focus our efforts and to broaden and deepen our impact. Drs. Edward March and Selma Botman, both of whom have extensive experi- ence in the practice and study of regional development, are leading a faculty task force whose objective is to work with the industries now driving or poised to drive the regional and state economy, matching UMass Lowell’s resources with their needs. This is an integrated approach, with our staff and faculty linking with state economic development agencies, the City of Lowell planning department, and legislative leaders. As we redouble our efforts on campus and beyond, your support is vital. We are most grateful for the generosity shown by our graduates, friends, and supporters in the private and public sectors.
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THE LONG VERSION Over the past twenty years, RICHARD DRESSER’S plays have been widely produced on and off Broadway, in the nation’s leading regional theaters, and extensively throughout Europe. BELOW THE BELT, about three American men attempting to work together in a foreign land, started at the Actors Theatre of Louisville’s Humana Festival, ran off-Broadway at the John Houseman Theatre, appeared throughout the country, and was a long- running hit in Berlin, triggering many European productions. It was subsequently made into a film HUMAN ERROR, directed by Robert M. Young, which appeared at the Sundance Film Festival. ROUNDING THIRD, which deals with competition in American society through the prism of Little League baseball, premiered at the Northlight Theater in Chicago, ran off-Broadway and has since had hundreds of productions throughout the country. It was recently made into a movie starring John C. McGinley and Garret Dillahun which will be released in 2016. His trilogy of plays about happiness in America, with each play set in a different social class, includes: AUGUSTA (working class), THE PURSUIT OF HAPPINESS (middle class) and A VIEW OF THE HARBOR (upper class). Other plays include: SOMETHING IN THE AIR, a contemporary film noir about the very last sure-fire investment left on earth, which started at CATF in Shepherdstown, West Virginia. GUN-SHY, which started at Louisville’s Humana Festival and ran at Playwrights Horizons in New York, about the tumultuous end and subsequent beginning of a marriage THE DOWNSIDE, which started at the Long Wharf Theatre in New Haven about a desperate pharmaceutical company betting everything on a new anti-stress drug.
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By Lauren Gunderson Present
Executive Director Artistic Director Kappy Kilburn Kevin Moore PRESENT BY LAUREN GUNDERSON Directed by Margarett Perry Scenic Designer Costume Designer Lighting Designer Ray Zupp Janet G. Powell John Rensel^ Sound Designer Production Stage Manager Jay Brunner^ Jacquelyn Duncan* Video Production Produced by Shaunn Baker Tara Lail & Kevin Moore THE REVOLUTIONISTS is presented by special arrangement with Dramatists Play Service, Inc., New York. Commissioned and first produced by Cincinnati Playhouse in the Park. Time: 1793 Place: Paris CAST BIOGRAPHIES Ginna Hoben* Olympe de Gouges Ginna is an Ohio native and has performed at various American regional theatres, most notably in 31 productions at American Shakespeare Center including the world premieres of Shakespeare’s Sister (titular role) and her self-written play, The Twelve Dates of Christmas. Other performances include Moon Over Buffalo (Cape May Stage); Next Fall, The 39 Steps, and The Twelve Dates of Christmas (CATCO); Proof (Heritage Repertory); Almost, Maine (Project SEE); and The World Premiere of Richard Dresser’s What Are You Afraid Of? (Humana Festival, Actors Theatre of Louisville.) She has also been a writer/producer for the Emmy nominated TV show, Brain Games. www.ginnahoben.com | www.the12datesofchristmas.com. Maggie Lou Rader* Marie Antionette Maggie Lou Rader is pumped to be back eating cake at Human Race where she was last seen as Abby in Now and Then. An Oklahoma native, she attended William Jewell and the Birmingham School of Acting. She’s performed with Birmingham Old Rep, Kentucky Shakespeare, Know Theatre, StageOne, and the Cincinnati Shakespeare Company where she’s made fond memories playing Maggie in Cat on a Hot Tin Roof, Mary Shelley in Mary’s Monster, and Jo March in Little Women.
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FOR IMMEDIATE RELEASE Contact: Kirstin Franko/Julia Suszynski Press
FOR IMMEDIATE RELEASE Contact: Kirstin Franko/Julia Suszynski [email protected]; 202-600-4055 April 26, 2011 STEPPENWOLF THEATRE COMPANY’S PRODUCTION OF EDWARD ALBEE’S WHO’S AFRAID OF VIRGINIA WOOLF? WHICH WAS RECENTLY PRESENTED AT ARENA STAGE AT THE MEAD CENTER FOR AMERICAN THEATER TO OPEN ON BROADWAY FALL 2012 WITH ORIGINAL COMPANY *** Directed by Pam MacKinnon, and featuring Steppenwolf ensemble members Tracy Letts and Amy Morton with Carrie Coon and Madison Dirks, the production will open exactly 50 years after of the original Broadway production *** (Washington, D.C.) On the heels of the April 24 conclusion of the two-month Arena Stage Edward Albee festival comes the news that the celebration of our greatest living playwright, Edward Albee, will continue when Steppenwolf Theatre Company’s critically acclaimed production of Who’s Afraid of Virginia Woolf? opens on Broadway Saturday, October 13, 2012—exactly 50 years to the date after the play’s original Broadway opening Saturday, October 13, 1962. It will feature the original Steppenwolf cast seen at Arena Stage at the Mead Center for American Theater (February 25 – April 10)—Tracy Letts, Amy Morton, Carrie Coon and Madison Dirks under the direction of Pam MacKinnon. "It is wonderful that Arena Stage could play a role in bringing Steppenwolf Theatre Company together with Edward Albee, an incomparable giant in American playwriting," shares Arena Stage Artistic Director Molly Smith. "From the day Pam MacKinnon discussed with us her idea to cast Tracy and Amy in this epic production, we knew this Virginia Woolf was meant to be something special.
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