DOCSLIB.ORG

The Invisible Hand at ACT Encore Arts Seattle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SEPTEMBER 2014 Sep 5–28 ES014 covers.indd 3 8/18/14 2:21 PM September 2014 Volume 11, No. 1 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com seattlerep.org Paul Heppner 206-443-2222 Publisher Season The Great Society was developed, in part, with assistance Jack Willis in All the Way. Marty Griswold Sponsor from The Orchard Project, a program of The Exchange Photo by Jenny Graham. Associate Publisher Leah Baltus Editor-in-Chief SRT 080414 society 1_3s.pdf Dan Paulus Art Director CONCERT MONDAY, Jonathan Zwickel SELLS OUT Senior Editor QUICKLY, SO GET DECEMBER 1, Gemma Wilson YOUR TICKETS Associate Editor EARLY! 7:30 P.M., Amanda Manitach Visual Arts Editor MCCAW HALL, Amanda Townsend SEATTLE CENTER Events Coordinator www.cityartsonline.com Seattle Pacific University’s 15th annual Sacred Sounds of Christmas concert Paul Heppner features the acclaimed President SPU Concert Choir, Mike Hathaway Symphonic Wind Vice President Ensemble, Symphony Erin Johnston Orchestra, and other Communications Manager performing groups. Genay Genereux Accounting Tickets start at $16.50. Use “SPU” promo code. Corporate Office Group rates available. 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] For more information, 800.308.2898 x105 visit Ticketmaster or www.encoremediagroup.com spu.edu/sacredsounds. Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited. 2 ENCORE STAGES ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE Splendor in the Grass “Blood Ensemble’s process is really organic. The land is really what drove this produc- tion—someone would bring in an image or a scene and go to a part of the property and show the rest of the ensemble. This tree in particular was very inspiring. It reaches into the sky, protective but silent. The ability to walk toward a lit barn at sunset is an amazing asset. Why should theatre stay in theatres? As long as you have artists and an audience, you have a show.” —Emily Harvey, co-director of Blood Ensemble’s Barn Show, a site- specific theatre piece built around a 100-year-old barn in Marysville, Wash., and the (fictional) family that built it (seen here). The show spans a hundred years and several generations, from first loves to last breaths. SEE MORE PHOTOS AT cityartsonline.com/barnshow MIGUEL EDWARDS MIGUEL encoreartsseattle.com 3 CONTENTS SEPTEMBER 2014 Sep 5–28 The Invisible Hand A1 A-1 Title Page A-2 Welcome to ACT A-3 Up Next at ACT A-4 An Interview with Ayad Akhtar A-8 Who’s Who A-10 ACT Partners A-16 ACT Board & Staff ES014 covers.indd 3 8/18/14 2:21 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE THREE YEARS AGO, Phoenix native and Whitman College grad Ben Hunter, now 29, started Community Arts Create, a nonprofit that offers folk-music classes and a mural program and runs the Columbia City Art Walk, among other things. For years CAC operated without a home base, until seven months ago when Hunter and his volunteer cohort opened the Hillman City Collaboratory, a multi-purpose arts and co-working space on the corner of Rainier Ave. S and S Orcas St. Now a new arts hub is taking root there. LEAH BALTUS How did CAC start? It started with the Columbia City Art Walk, which provided this really good foundation for meeting people, for having the conversations that eventually led to where we are now. For example, Taste International, our culinary arts program, was a vendor for the Art Walk at first. How did you find your way to community work? I stumbled upon a job at the [arts education] nonprofit Arts in Motion about six years ago as a violin teacher. But not everybody wants to be a musician. For me, the idea isn’t to create an army of performing artists, but Keeping an army of artists generally. People who are imaginative and want to use their creativity for whatever they want to get into. How did you identify Columbia City as the place where you wanted to Tradition Alive work? When I first came to Columbia City for Arts in Motion, I remember walking around and everything was so different. I see black people—regularly. People of Fiddler, violinist and teacher color. And people say hi on the streets. The rest of Seattle is so different. Not just culturally—economically, development-wise. People in South Ben Hunter forges an arts hub Seattle need to own South Seattle. We need to build up this community the way this community wants to build it up and not at the hands of in South Seattle’s Hillman City. developers who have no intention to keep the cultural traditions alive in this neighborhood. PERRY SHANNON 4 ENCORE STAGES ENCORE ARTS NEWS What’s it’s like now that you have the 8000 25th Avenue NE • Seattle Collaboratory? www.universityprep.org This space has been a big step for us. In the Have you discovered your potential? seven months we’ve been open, I’ve developed University Prep is an independent school relationships with people on a whole new level serving grades six through twelve. because people can come in and just talk. It’s Our program takes students on a collaborative journey of learning in a diverse and inclusive been really enlightening. I can ask questions community. Our alumni span the globe, and listen to what people from all backgrounds fulfilling their dreams in professions that range have to say, what they see, what they’re hoping from chef, to professor, engineer, to see. A lot of people have ideas about what physicist, and musician... they want this place to become and a lot of Come visit University Prep and people want to talk about what once was. Discover the Puma in You! One of the first guys I met in this For information, call 206.523.6407 neighborhood, Joe, sweeps the sidewalk pretty much every day. He works at the mortuary down the street. He’s got an interesting perspective because he sees the kids that get shot and killed; he works on them. He’s lived here for a really long time and he’ll come in to get coffee. He’s a beautiful piano player. Northwest Art Alliance presents Fall 2014 Art and Fine Craft Show “A lot of people have ideas about what they want this place to become and a lot of people want to talk about what once was.” Back Street Bazaar just got started and it kicked ass. We had a 10-piece brass band, we had three chefs here cooking and giving out food. There was a guy who came who a lot of art by Dennis Brady people would probably consider a thug. He just saw this place, walked in and was like, this is A Two Act Show: cool. No one needs to know who I am or what I do. I can just come in here and be. On a Thursday or Friday night, I usually cook October 24 - 26 & November 14 - 16 some food and suggest a donation. It’s bring- your-own-beer, like a living room concert, which goes back to the whole idea of folk in the first place. We’ve done three months of installations Hangar 30 • Magnuson Park • nwartalliance.com in our art gallery. And there’s a community garden out back, too. How does your love of folk music connect to the Collaboratory? Benaroya Hall, the S. Mark Taper Folk music is a tradition. It’s this idea that you Foundation Auditorium pass down something from one generation to Benefiting Ballard NW the next or one family to the next. From some person to some other person, you’re telling a Senior Center & story. Maybe retelling exactly how it was told Senior Center of West Seattle to you, maybe reinterpreting that story and tickets: changing some of the storylines. America’s music and arts scenes lost that connection online at BenaroyaHall.org, by phone with the people before us and we’ve lost our 206.215.4747 or 1.866.833.4747 (toll free) responsibility to pass that down to the next in person at The Benaroya Hall Ticket Office at generation. There’re a lot of musicians and the corner of Third Avenue & Union Street, open there’s a lot of artists in our culture. Who are Mon-Fri, 10 a.m.-6 p.m.; Sat, 1 p.m.-6 p.m. they learning from and who are they teaching? Back Street Bazaar takes place the first Sunday of every month at the Collaboratory. encoreartsseattle.com 5 EAP 1_6 H template.indd 1 8/18/14 11:10 AM ad proofs.indd 1 8/15/14 1:35 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE WHO Eric Howk, the 32-year-old guitarist, music producer and partner at iconic Seattle businesses Never like the Crocodile, the Forge and Ghost Gallery. Born to arts journal- ists in Wasilla, Alaska, who named him after Eric Clapton, Howk was Summer surrounded by guitars, typewriters, cameras, good books and hand Eric Howk tools from the beginning.
Recommended publications
  • Juniors Pick Prom Queen; Call Lanin, Devron to Play

    Juniors Pick Prom Queen; Call Lanin, Devron to Play

    Vol. XLI, No. 15 GEORGETOWN UNIVERSITY, WASHINGTON, D, C. Thursday, February 18, 1960 Parents &. Profs History Fraternity Set Get-Together Names 4 Seniors Juniors Pick Prom Queen; For Next Sunday For Membership Next Sunday, February 21, Call Lanin, Devron To Play will witness the Washington The Georgetown Beta-Phi Club's Fifth Annual Recep­ chapter of Phi Alpha Theta, Coughlin Promises tion for the Faculty of the national honor history fra­ Hawaiian Weekend College and the parents of the ternity, founded in 1921, has non-resident students. recently elected four new The Junior Prom, a yearly A full afternoon has been members from the College. tradition here at the Hilltop, planned, beginning in Gaston Hall They are seniors John Cole­ will enliven the weekend of at 2 p.m. with a short concert by the Chimes and a greeting to the man, Bob Di Maio, Arnold February 26. The events are parents by Rev. Joseph A. Sellin­ Donahue, and Al Staebler. open to all students in the ger, Dean of the College. Under the auspices of Dr. Tibor . University, not just the junior Kerekes, the Georgetown chapter class. Chairman of the fete is im­ has grown, since its inception in presario Paul J. Coughlin. Cough­ 1948, to three hundred members lin is an AB (Classical) economics and is one of the most active in the fraternity. major and a member of the Class The first admitted among Catho­ of '61. He was on the Spring Week­ lic universities, it comprises mem­ end Committee last year and is bers from the College, Foreign present.ly a membe1.· of the N.
  • THE 42Nd COMPARATIVE DRAMA CONFERENCE the Comparative Drama Conference Is an International, Interdisciplinary Event Devoted to All Aspects of Theatre Scholarship

    THE 42Nd COMPARATIVE DRAMA CONFERENCE the Comparative Drama Conference Is an International, Interdisciplinary Event Devoted to All Aspects of Theatre Scholarship

    THE 42nd COMPARATIVE DRAMA CONFERENCE The Comparative Drama Conference is an international, interdisciplinary event devoted to all aspects of theatre scholarship. It welcomes papers presenting original investigation on, or critical analysis of, research and developments in the fields of drama, theatre, and performance. Papers may be comparative across disciplines, periods, or nationalities, may deal with any issue in dramatic theory and criticism, or any method of historiography, translation, or production. Every year over 170 scholars from both the Humanities and the Arts are invited to present and discuss their work. Conference participants have come from over 35 countries and all fifty states. A keynote speaker whose recent work is relevant to the conference is also invited to address the participants in a plenary session. The Comparative Drama Conference was founded by Dr. Karelisa Hartigan at the University of Florida in 1977. From 2000 to 2004 the conference was held at The Ohio State University. In 2005 the conference was held at California State University, Northridge. From 2006 to 2011 the conference was held at Loyola Marymount University. Stevenson University was the conference’s host from 2012 through 2016. Rollins College has hosted the conference since 2017. The Conference Board Jose Badenes (Loyola Marymount University), William C. Boles (Rollins College), Miriam M. Chirico (Eastern Connecticut State University), Stratos E. Constantinidis (The Ohio State University), Ellen Dolgin (Dominican College of Blauvelt), Verna Foster (Loyola University, Chicago), Yoshiko Fukushima (University of Hawai'i at Hilo), Kiki Gounaridou (Smith College), Jan Lüder Hagens (Yale University), Karelisa Hartigan (University of Florida), Graley Herren (Xavier University), William Hutchings (University of Alabama at Birmingham), Baron Kelly (University of Louisville), Jeffrey Loomis (Northwest Missouri State University), Andrew Ian MacDonald (Dickinson College), Jay Malarcher (West Virginia University), Amy Muse (University of St.
  • Dr. Priyanka Sees Her 'Mymedwall' As Way to Engage Community

    Dr. Priyanka Sees Her 'Mymedwall' As Way to Engage Community

    Brevard Business BBN News Vol. 31 No. 49 December 9, 2013 $1.00 A Weekly Space Coast Business Magazine printed in Brevard County, Florida since 1984 Dr. Priyanka sees her ‘MyMedWall’ as way to engage community By Ken Datzman Social media, which started slowly, has invaded most business sectors over the past few years. Now it is growing as a force in health care, and consumers are driving the activity in that arena. Companies and organizations are following the lead of consumers, in what looks to be a new movement in a huge business segment that hasn’t changed much over the decades. Online platforms, mobile technologies, and their associated applications seem poised to shake up the multitrillion–dollar health–care industry in the years ahead. In a recent survey by hospital market research firm YouGov Healthcare, 57 percent of users revealed that their social–media connections with a hospital strongly affected their decision to use a particular facility for treatment. Health care in general is starting to move into the consumer– engagement era. The American Diabetes Association has tens of thousands of people following its updates on Facebook, and the American Cancer Society page has throngs of followers as well. Those are just two of many examples. There is an emerging consensus in health–policy circles that informed and engaged consumers are uniquely positioned to play an important role in improving the quality of care that the U.S. delivers to patients. “Engagement is the key and it has to be on the local commu- nity level,” said board–certified internist and businesswoman Geetha Priyanka.
  • The Carroll News

    The Carroll News

    John Carroll University Carroll Collected The aC rroll News Student 4-28-1961 The aC rroll News- Vol. 43, No. 13 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 43, No. 13" (1961). The Carroll News. 237. http://collected.jcu.edu/carrollnews/237 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. The (;arroll jNew degree programs NEWS feature 'Classical' A.B. Representing John Carroll University Two new A.B. degree pro- ment of Latin or Greek. language requirement by the elec­ The Very Rev. Hugh E. Dunn, tion of a single language, modern University Heights 18, Ohio gramR will eventually replace S.J., President of the Univer11ity, or classical. In e.!fect, the language the present A.B. and B.S. in announced, that "the new program t·cquirement of the current B.S. in Vol. XLIII, No. 13 Friday, April 28, 1961 S.S. degrees, it was announce(! will strengthen the Bachelor of S.S. program has been extended in from the President's office Arts degree and at the same time this respect to the A.B. The A.B. provide opportunities for students Classics program, however, retains ~·esterday. seeking a classical background." the two-language requirement as One program has the title "A.D. Effective this September, Carroll formerly, except for an upgrading Pellegrino reigns IClassics" in distinction to the "A.
  • Play Guide for Gloria

    Play Guide for Gloria

    Play Guide September 28-October 20, 2019 by Emily Mann directed by Risa Brainin 2019 and the recent past. This new work by Tony Award-winning playwright Emily Mann celebrates the life of one of the most important figures of America's feminist movement! Nearly half a century later, Ms. Steinem's fight for gender equality is still a battle yet to besimplifying won. IT 30 East Tenth Street Saint Paul, MN 55101 651-292-4323 Box Office 651-292-4320 Group Sales historytheatre.com Page 2 Emily Mann—Playwright Pages 3-4 Gloria Steinem Timeline Page 5-7 Equal Rights Amendment Page 8-11 Second Wave Feminism Page 12 National Women’s Conference Page 13 Phyllis Schlafly Pages 14-15 Milestones in U.S. Women’s History Page 16 Discussion Questions/Activities Page 17 Books by Gloria Steinem able of Content T Play Guide published by History Theatre c2019 Emily Mann (Playwright, Artistic Director/Resident Playwright) is in her 30th and final season as Artistic Director and Resident Playwright at the McCarter Theatre Center in Princeton, New Jersey. Her nearly 50 McCarter directing credits include acclaimed produc- tions by Shakespeare, Chekhov, Ibsen, and Williams and the world premieres of Christopher Durang’s Turning Off the Morning News and Miss Witherspoon; Ken Ludwig’s Murder on the Orient Express; Rachel Bonds’ Five Mile Lake; Danai Guri- ra’s The Convert; Sarah Treem’s The How and the Why; and Edward Albee’s Me, Myself & I. Broadway: A Streetcar Named Desire, Anna in the Tropics, Execution of Justice, Having Our Say.
  • US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By

    US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by British Columbia's network of post-secondary digital repositories BLOCKING THE SCHOOL PLAY: US, JAPANESE, AND UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, AND THE CONSTRUCTION OF TEEN IDENTITY by Jennifer Bomford B.A., University of Northern British Columbia, 1999 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH UNIVERSITY OF NORTHERN BRITISH COLUMBIA August 2016 © Jennifer Bomford, 2016 ABSTRACT School spaces differ regionally and internationally, and this difference can be seen in television programmes featuring high schools. As television must always create its spaces and places on the screen, what, then, is the significance of the varying emphases as well as the commonalities constructed in televisual high school settings in UK, US, and Japanese television shows? This master’s thesis considers how fictional televisual high schools both contest and construct national identity. In order to do this, it posits the existence of the televisual school story, a descendant of the literary school story. It then compares the formal and narrative ways in which Glee (2009-2015), Hex (2004-2005), and Ouran koukou hosutobu (2006) deploy space and place to create identity on the screen. In particular, it examines how heteronormativity and gender roles affect the abilities of characters to move through spaces, across boundaries, and gain secure places of their own. ii TABLE OF CONTENTS Abstract ii Table of Contents iii Acknowledgement v Introduction Orientation 1 Space and Place in Schools 5 Schools on TV 11 Schools on TV from Japan, 12 the U.S., and the U.K.
  • Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS

    Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS

    ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley).
  • History of Arena Stage: Where American Theater Lives the Mead Center for American Theater

    History of Arena Stage: Where American Theater Lives the Mead Center for American Theater

    History oF arena Stage: Where American Theater Lives The Mead Center for American Theater Arena Stage was founded August 16, 1950 in Washington, D.C. by Zelda Fichandler, Tom Fichandler and Edward Mangum. Over 65 years later, Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground- breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. When Zelda and Tom Fichandler and a handful of friends started Arena Stage, there was no regional theater movement in the United States or resources to support a theater committed to providing quality work for its community. It took time for the idea of regional theater to take root, but the Fichandlers, together with the people of the nation’s capital, worked patiently to build the fledgling theater into a diverse, multifaceted, internationally renowned institution. Likewise, there were no professional theaters operating in Washington, D.C. in 1950. Actors’ Equity rules did not permit its members to perform in segregated houses, and neither The National nor Ford’s Theatre was integrated. From its inception, Arena opened its doors to anyone who wished to buy a ticket, becoming the first integrated theater in this city.
  • INVISIBLE-HAND-Program-Digital.Pdf

    INVISIBLE-HAND-Program-Digital.Pdf

    hand_program.pdf 1 9/13/17 7:54 PM C M Y CM MY CY CMY K STEEP THEATRE COMPANY COMPANY MEMBERS James Allen Jonathan Edwards Jim Poole Kendra Thulin Jonathan Berry Alex Gillmor Egan Reich Robin Witt Lucy Carapetyan Nick Horst Joel Reitsma Brendan Melanson George Cederquist Ashleigh LaThrop Melissa Riemer in memoriam Brad DeFabo Akin Cynthia Marker Michael Salinas Patricia Donegan Peter Moore Joanie Schultz Peter Dully Caroline Neff Julia Siple ARTISTIC ASSOCIATES Matthew Chapman Lauren Lassus Alison Siple Dan Stratton Maria DeFabo Akin Kristin Leahey Simon Stephens Brandon Wardell Thomas Dixon Emily McConnell Assoc. Playwright Chelsea M. Warren BOARD OF DIRECTORS Jessica Schrey David Bock Doug Passmore Sonya Dekhtyar President Vice President Secretary Treasurer Dave Bartusek Ian Galleher Ted Lowitz Shawn Sackett Kelly Carpenter Molly Johnson Anne Marie Mitchell Kelly Fitzgerald Stu Kiesow Elizabeth Moore STAFF Peter Moore Staci Weigum Egan Reich Stu Kiesow Artistic Director House Manager Literary Manager Graphic Designer Kate Piatt-Eckert Caroline Neff Lee Miller Julianna Jarik Executive Director Casting Director Photographer Management Intern Julia Siple Lucy Carapetyan Gregg Gilman Managing Director Casting Associate Photographer FRIENDS OF STEEP Heidi Brock Sara Foster Katie Kett Christine Rousseau Reid & Jennifer Diane Galleher Jennifer Collins Craig Steadman Quinn Broda Barry Grant Moore John C. White John Dunnigan Neil Jain Jon Putnam Steep Theatre Company is supported in part by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, the MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation, the Gaylord & Dorothy Donnelley Foundation, the Illinois Arts Council Agency, the Sol R.
  • Junk by Ayad Akhtar

    Junk by Ayad Akhtar

    JUNK BY AYAD AKHTAR DRAMATISTS PLAY SERVICE INC. JUNK Copyright © 2018, Ayad Akhtar All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of JUNK is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/ama- teur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Au- thor’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for JUNK are controlled exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of Dramatists Play Service, Inc., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Creative Artists Agency, 405 Lexington Avenue, 19th Floor, New York, NY 10174.
  • Exploring the Theme of Neo-Orientalism in Ayad Akhtar's

    Exploring the Theme of Neo-Orientalism in Ayad Akhtar's

    INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745) (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol. 7. Issue.1. 2020 (Jan-Mar) EXPLORING THE THEME OF NEO-ORIENTALISM IN AYAD AKHTAR’S DISGRACED AS A REPRESENTATION OF THE ARAB-ISLAMIC WORLD MONA BAGATO E-mail: [email protected] ABSTRACT The goal of this study is to explore Ayad Mkhtar’s “Disgraced”, as a Neo-Orientalist account, portraying the injustice and prejudice of the American society towards Muslims and Arabs, and how it considers them as a threat that must be othered and excluded. The main objective of this study is to reflect on how Disgraced tackled Neo- Orientalist ideology, and consequently how this critical trend has widened the gap between East and West. Intentionally, the West had imposed a Stereotype figure on Article information Received:29/01/2020 Muslims throughout their myopic lens, and consequently created distorted image of Accepted: 27/02/2020 Islam and Muslims in their writings. Since 9/11, the situation has worsened. The Published online: 03/03/2020 classical orientalism has taken a new, and more negative approach. Neo-Orientalists doi: 10.33329/ijelr.7.1.122 now see Muslims as terrorists, lunatics, fundamentalists, and blood-thirsty beings. The stigmata September11th attached to Islam and Muslims drove many second generation immigrates playwrights to do something about it. They could not turn a blind eye to the injustice Muslim Americans are facing in the American society.
  • La Jolla Playhouse Announces Projects for 2018 DNA New Work

    La Jolla Playhouse Announces Projects for 2018 DNA New Work

    Contact: Becky Biegelsen (858) 228-3092; [email protected] LA JOLLA PLAYHOUSE ANNOUNCES PROJECTS FOR SIXTH DNA NEW WORK SERIES FOUR BRAND NEW PROJECTS TO RECEIVE READINGS DURING FOUR-DAY PLAY DEVELOPMENT SERIES La Jolla, CA – La Jolla Playhouse is pleased to bring back for a sixth year its acclaimed new play development initiative, the DNA New Work Series, a weekend of readings of new works, taking place March 22 – 25, 2018 in the Playhouse’s Rao and Padma Makeneni Play Development Center. Tickets for the DNA New Work Series are free but reservations are required by calling (858) 550-1010 or visiting LaJollaPlayhouse.org. The DNA New Work Series offers playwrights and directors the opportunity to develop a script by providing rehearsal time, space and resources, culminating in a public presentation. This process gives audiences a closer look at the play development process, while allowing the Playhouse to develop new work and foster relationships with established and up-and-coming playwrights. “DNA has become one of the Playhouse’s most highly-anticipated and successful pathways for developing new work, with several projects going on to receive full, world-premiere productions on our mainstage, including this past season’s Kill Local. Patrons have the opportunity to take part in the birth of these new works while giving playwrights invaluable support and feedback in the early stages of their piece’s development,” said Playhouse Artistic Director Christopher Ashley. The DNA Series has been a launching pad for numerous shows that have