DOCSLIB.ORG

Performing Gender and Violence in Contemporary Transnational Contexts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Gender and Violence in Contemporary Transnational Contexts Performing Gender and Violence in Contemporary Transnational Contexts Edited by Maria Anita Stefanelli Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html ISSN 2281-9290 ISBN 978-88-7916-795-6 Copyright © 2016 Via Cervignano 4 - 20137 Milano www.lededizioni.com - www.ledonline.it - E-mail: [email protected] I diritti di riproduzione, memorizzazione e archiviazione elettronica, pubblicazione con qualsiasi mezzo analogico o digitale (comprese le copie fotostatiche, i supporti digitali e l’inserimento in banche dati) e i diritti di traduzione e di adattamento totale o parziale sono riservati per tutti i paesi. Le fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Le riproduzioni effettuate per finalità di carattere professionale, economico o commerciale o comunque per uso diverso da quello personale possono essere effettuate a seguito di specifica autorizzazione rilasciata da: AIDRO, Corso di Porta Romana n. 108 - 20122 Milano E-mail [email protected] <mailto:[email protected]> sito web www.aidro.org <http://www.aidro.org/> Cover image: Artemisia Gentileschi’s Judith and Maidservant with the Head of Holofernes (1623-1625). Detroit Institute of Art; oil on canvas. Stampa: Andersen Spa Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html CONTENTS Acknowledgements 7 Preface 9 by Maria Anita Stefanelli 1. Making Visible. Theatrical Form as Metaphor: Marina Carr 15 and Caryl Churchill by Cathy Leeney 2. Obscene Transformations: Violence, Women and Theatre in 27 Sarah Kane and Marina Carr by Melissa Sihra 3. Can the Subaltern Dream? Epistemic Violence, Oneiric 41 Awakenings and the Quest for Subjective Duality in Marina Carr’s Marble Interview with Marina Carr 62 Excerpt from Marble by Marina Carr 69 by Valentina Rapetti 4. “The house is a battlefield now”: War of the Sexes and 77 Domestic Violence in Van Badham’s Kitchen and Warren Adler’s The War of the Roses Interview with Van Badham 92 Excerpt from Kitchen by Van Badham 97 by Barbara Miceli 5. Serial Killers, Serial Lovers: Raquel Almazan’s La Paloma 101 Prisoner Interview with Raquel Almazan 113 Excerpt from La Paloma Prisoner by Raquel Almazan 124 by Alessandro Clericuzio 5 Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html Contents 6. “To Put My Life Back into the Main Text”: Re-Dressing 129 History in The Second Coming of Joan of Arc by Carolyn Gage Interview with Carolyn Gage 142 Excerpt from The Second Coming of Joan of Arc 146 and Selected Plays by Carolyn Gage by Sabrina Vellucci 7. Turning Muteness into Performance in Erin Shields’ If We 149 Were Birds Interview with Erin Shields 172 Excerpt from If We Were Birds by Erin Shields 178 by Maria Anita Stefanelli 8. Afterword: Vocal and Verbal Assertiveness 187 by Kate Burke Contributors 193 6 Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html Acknowledgements My warm thanks go to Ms Eve Straussman-Pflanzer, Head of the European Art Department at the Detroit Institute of Art, for generously allowing me to reproduce Artemisia Gentileschi’s Judith and Maidservant with the Head of Holofernes (oil on canvas; 1623- 1625). I am also grateful to all the playwrights who granted their per- mission to publish passages from their work in this book. Thanks to Marina, who, by speaking up first when we met at Roma Tre for a Colloquium in 2014, established the informal style that would characterize our subsequent contacts. Thanks to Van, who recounted a personal experience when discussing a specific incident on the theme of the conference. Thanks to Raquel’s very personal, almost ritualistic style of language that prompted Edward Albee to tell her, “Your ear is splendid, characters speak without a false note, you sure can write”. Thanks to Carolyn, whose passion induced even the lesser inclined members of the audience to honor her cause. Thanks to Erin, whom I recently saw at her lovely new home in Montréal, and who let me in on her latest plans, as well as responding enthusiasti- cally to my own suggestion for a new project. Thanks to my friend Kate, who knew the right way to round off a two-day theatrical marathon – with a collective warm embrace. Thanks also go to Valentina for keeping up the contacts with our playwrights and scholars from abroad, and who joined with Cathy, Melissa, Barbara, Alessandro, Sabrina, and myself to turn our thoughts on the theme of violence in the theater into a book: my thanks to all. 7 Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html PREFACE Spectacular Violence The cover of this book shows Artemisia Gentileschi’s painting Judith and Maidservant with the Head of Holofernes in which Judith is portrayed having just decapitated Holofernes and about to flee the crime scene with her maid/accomplice. Various visual artists had tackled this subject before Gentileschi: it can be found in the illuminated manuscripts of the thirteenth and fourteenth centuries, and it was also a favored theme of many later great artists. Botticelli, Mantegna, Giorgione, Michelangelo, Titian, Lucas Cranach the Elder, Vasari, and Veronese all portrayed Judith. Caravaggio, whose red drapes above the grisly scene provide a theatrical cue for Genti- leschi’s later version, also portrayed this archetypal Biblical female warrior being assisted by her maid, hinting at the women’s sisterly alliance in thwarting a man’s violence and latent savagery. Other artists have represented the scene, from Rubens, Goya and Doré, whose engraving of Judith and Holofernes brings us to Victorian times, to Klimt and von Stuck in the last century. These variations on the episode all evidence the artists’ concern to measure up to their predecessors and, indeed, to their own selves. While staging one or more of the many possible worlds generat- ed by our culture, artists grappling with such elemental expressions of violence can lead us to spaces yet undiscovered. This was their goal, and it is a goal shared by the scholars who contributed to this book. Our purpose was to explore and critique the works of our chosen playwrights in the hope that more space might be made avail- able to readers, spectators, and lovers of theatre for them to acknow- ledge the performance of the feminine in the spectacle of violence across nations. This is how the episode is narrated in the Book of Judith: 9 Performing Gender and Violence in Contemporary Transnational Context - Milano, LED, 2016 ISBN 978-88-7916-795-6 - http://www.ledonline.it/ledonline/795-performing-gender-violence.html Preface Judith fell upon her face, and put ashes upon her head, and uncovered the sackcloth wherewith she was clothed; and about the time that the incense of that evening was offered in Jerusalem in the house of the Lord. Judith cried with a loud voice, and said, O Lord God of my father Simeon, to whom thou gavest a sword to take vengeance of the strangers, who loosened the girdle of a maid to defile her, and discovered the thigh to her shame, and polluted her virginity to her reproach; for thou saidst, It shall not be so; and yet they did so (Judith 9:1-2). 1 In the words of Robin Gallaher Branch, Judith is a “formidable literary character”, whose status can be ascribed to her long genea- logy. In the Bible she invokes God before resolving to kill Holofernes (the chief captain of Nabuchodonosor who has Bethulia under siege) so that the city and its people can be saved. She recalls the offense and the humiliation suffered by Jacob’s daughter Dinah, raped by Schachem, a stranger from a different tribe, and her brothers’ subsequent vengeance through tricking its rulers, with whom they made a pact. Judith’s plan of action is shaped by her courage, vigor, energy, masculine strength, forcefulness, and cold bloodedness – all elements that enhance her devout and compassionate, but also proud, shrewd, and imperturbable character. Fully armed with these attributes, she exploits her natural beauty and uses her female powers of seduction. She visits Holofernes in his tent, and effortlessly reduces him to a brute, senseless and insensible creature before embarking on her plan, which she executes with two blows from his own sword. She then leaves with her maid, who hides the head in a food sack, so that they can get away from the Assyrians unnoticed. The research of Elizabeth S. Cohen, published in a special edition of The Sixteenth Century Journal devoted to “Gender in Early Modern Europe” 2, offers a thorough historical interpretation of the ———————— 1 Judith 9:1-2. The ‘Book of Judith’ is part of the Apocrypha, namely a selection of books which were published in the original 1611 King James Bible, but removed in 1885. The Book is regarded as non-canonical in the Jewish faith. Considered ‘deuterocanonical’ because it entered the canon later, it is part of the Catholic Bible (Old Testament) and is thus seen as God-inspired.
Load more

Recommended publications
  • A Current Listing of Contents
    WOMEN'S STUDIES LIBRARIAN EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS VOLUME 16, NUMBER 2 SUMMER 1996 Published by Phyllis Holman Weisbard Women's Studies Librarian University of Wisconsin System 430 Memorial Library / 728 State Street Madison, Wisconsin 53706 (608) 263-5754 EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS Volume 16, Number 2 Summer 1996 Periodical literature is the culling edge ofwomen's scholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pages from current issues ofmajor feministjournals are reproduced in each issue ofFeminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first publication. 2. Frequency of publication. 3. U.S. subscription price(s).
    [Show full text]
  • Television, Radio & Theatre September 2019
    Television, Radio & Theatre September 2019 Congratulations to… Kieran Hurley for winning the Carol Tambor ‘Best of Edinburgh’ Award for MOUTHPIECE Javaad Alipoor whose RICH KIDS: A HISTORY OF SHOPPING MALLS IN TEHRAN won a Scotsman Fringe First Award during week one. And Lynette Linton for her Stage Debut nomination for Best Creative West End Debut, shared with designer Frankie Bradshaw for SWEAT and Jade Lewis who is nominated for Best Director for SUPERHOE. Writer-directors Claire Tailyour and Chloë Wicks whose short films BELITTLED and CUBICLE will be screening in the BAFTA recognised Underwire Festival (september 13th-22nd). Chloë is nominated in the Best Director category and Claire in the Best Screenplay category Underwire Festival Film HOPE GAP: Toronto Film Festival, 2019 HOPEGAP premiers at the Toronto Film Festival on Friday the 6th and Saturday the 7th of September. Directed and written by Oscar-nominated William Nicholson, the ‘razor-sharp’ drama about long-term love features brilliant performances from Bill Nighy and four-time Oscar nominee Anette Benning. HOPEGAP London Film Festival- Now Booking KRABI, 2562: London Film Festival – 3rd and 13th October: Booking opens this week Selected for the Experimenta Special Presentation, this collaboration between award-winning directors Anocha Suwichakornpong and Ben Rivers is a multidimensional exploration of the outskirts of Krabi in Thailand. The film extends freely to the local communities, inviting them to join in the crafting of a story that slithers mischievously between the appearance and disappearance of a stranger, before and after, fiction and reality, documentary and camp, mass tourism and the birth of the Holocene.
    [Show full text]
  • The Dr. Madeline Davis LGBTQ Archive of Western New York [Ca
    The Dr. Madeline Davis LGBTQ Archive of Western New York [ca. 1920-2015; bulk, 1970-2000] Descriptive Summary: Title: The Dr. Madeline Davis LGBTQ Archive of Western New York Date Span: [ca. 1920-2015; bulk, 1970-2000] Acquisition Number: N/A Creator: Over 50 organizations; see inventory. Donor: Madeline Davis Date of Acquisition: 10/2009 Extent: N/A Language: English Location: Archives & Special Collections Department, E. H. Butler Library, SUNY Buffalo State Processed: 2009-2016 (current); Hope Dunbar; 2016 Information on Use: Access: The Dr. Madeline Davis LGBTQ Archive of Western New York is open for research. Parts of the collection may be in processing; please contact an Archivist for additional information on particular sections of the collection. Reproduction of Materials: See Archivist for information on reproducing materials from this collection, including photocopies, digital camera images, or digital scans, as well as copyright restrictions that may pertain to these materials. Even though all reasonable and customary best-practices have been pursued, this collection may contain materials with confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to LGBTQ identifiable living individuals represented in this collection without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts are published that would be deemed highly offensive to a reasonable person) for which the SUNY Buffalo State assumes no responsibility. Preferred Citation: [Description and dates], Box/folder number, The Dr. Madeline Davis LGBTQ Archive of Western New York, Archives & Special Collections Department, E.
    [Show full text]
  • The Society of Fellows and Heyman Center for the Humanities
    The Society of Fellows and Heyman Center for the Humanities Annual Report 2018–2019 The Society of Fellows and Heyman Center for the Humanities Mail Code 5700 Columbia University 2960 Broadway New York, NY 10027 Phone: (212) 854-8443 Fax: (212) 662-7289 [email protected] www.societyoffellows.columbia.edu By FedEx or UPS: The Society of Fellows and Heyman Center for the Humanities 74 Morningside Drive Heyman Center, First Floor East Campus Residential Center Columbia University The Lionel Trilling Seminar: Lydia Davis on “Arles” New York, NY 10027 Posters courtesy of designers Amelia Saul and Sean Boggs Page 59: Women MAs, Trinity College, Dublin, courtesy of the Mistress and Fellows, Girton College, Cambridge Contents Report From the Chair and Thursday Lectures Series 21 the Executive Director 5 • Fall 2018: Fellows’ Talks 23 Members of the 2018–2019 Governing Board 8 • Spring 2019: Guest Lectures on “Observation and Obfuscation” 27 Forty-Fourth Annual Fellowship Competition 9 SOF/Heyman Event Highlights 31 Fellows in Residence 2018–2019 11 • Joelle M. Abi-Rached 12 SOF/Heyman Series and Workshops 45 • JM Chris Chang 13 • Politics of the Present 46 • Christopher M. Florio 14 • 13/13 Critique & Praxis 49 • Ardeta Gjikola 15 • Explorations in the Medical Humanities 49 • Arden Hegele 16 • New Books in the Arts and Sciences 51 • Whitney Laemmli 17 • New Books in the Society of Fellows 57 • Rachel Nolan 18 Heyman Center Fellows 2018–2019 59 • María González Pendás 19 Alumni Fellows News 63 Alumni Fellows Directory 64 2018–2019 Fellows at the annual year-end Spring gathering (from left): JM Chris Chang (2018–2021), Arden Hegele (2016–2019), Rachel Nolan (2018–2019), María González Pendás (2016–2019), Whitney Laemmli (2016–2019), Joelle M.
    [Show full text]
  • Violent Mothers in Marina Carr's Plays:The Mai, Portia Coughlan And
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature VIOLENT MOTHERS IN MARINA CARR’S PLAYS: THE MAI, PORTIA COUGHLAN AND BY THE BOG OF CATS... Kübra VURAL Master‟s Thesis Ankara, 2015 VIOLENT MOTHERS IN MARINA CARR‟S PLAYS: THE MAI, PORTIA COUGHLAN AND BY THE BOG OF CATS... Kübra VURAL Hacettepe University Graduate School of Social Sciences Department of English Language and Literature Master‟s Thesis Ankara, 2015 iii ACKNOWLEDGEMENTS First of all, my deepest gratitude is to my supervisor, Asst. Prof. Dr. Şebnem Kaya for her patient guidance and invaluable support throughout the writing process of this thesis. I would like to thank her for providing me with the helpful feedback and insightful advices about my thesis and my further academic studies. This thesis would not have been possible without her support and encouragement. I am very grateful to Prof. Dr. A. Deniz Bozer, Asst. Prof. Dr. Laurence Raw, Asst. Prof. Dr. Alev Karaduman and Asst. Prof. Dr. Sinan Akıllı for their critical comments, suggestions and emotional support. I would like to thank TUBİTAK for financial support during my research. I would like to express my thanks to Dr. Pınar Taşdelen, Dr. Aslı Değirmenci, Dr. İmren Yelmiş, Dr. Nazan Yıldız, Res. Asst. Oya Bayıltmış Öğütcü, Res. Asst. Murat Öğütcü, Res. Asst. Tuba Ağkaş, Res. Asst. Gülşah Göçmen, Res. Asst. Pelin Kut Belenli, Res. Asst. Ali Belenli, Res. Asst. Adem Balcı, Res. Asst. Cemre Mimoza Bartu, Res. Asst. Özlem Özmen, Res. Asst. Emine Seda Çağlayan Mazanoğlu, Res. Asst. Osman İşçi, Res. Asst. Ulaş Özgün and Res.
    [Show full text]
  • Notes on Contributors
    Contemporary Theatre Review, 2018 Vol. 28, No. 1, 1–2, https://doi.org/10.1080/10486801.2018.1426918 Notes on Contributors Carl Lavery is Professor of Theatre at the University of Glasgow. His recent edition of the journal Green Letters, ‘Performance and Ecology: What Can Theatre Do?’, will be published as a book by Routledge in 2018. He is currently finishing a new monograph, Interrogating the Human: Ecology,Theatre, and Theatricality. 5 Andrew Lennon is a PhD candidate at the University of Birmingham supported by the AHRC Midlands3Cities DTP. His research focuses on the mobilisation of documentary strategies in contemporary performance. He completed an undergraduate degree at Trinity College Dublin and studied at the Motley School of Design. He has worked in Ireland and 10 England as a lighting technician and designer. Anna McMullan is Professor of Theatre and Co-Director of the Beckett International Foundation at the University of Reading. She was Principal Investigator of the AHRC Staging Beckett project, a collaboration between the universities of Reading and Chester, and the Victoria and 15 Albert Museum, London, from 2012 to 2015. McMullan is author of Performing Embodiment in Samuel Beckett’s Drama (2010) and Theatre on Trial: The Later Drama of Samuel Beckett (1993), and co-editor of Reflections on Beckett (2009) with Steve Wilmer. She also publishes on Irish theatre and Performance and is co-editor with Cathy Leeney of The 20 Theatre of Marina Carr: ‘before rules was made’ (2003). Trish McTighe is Lecturer in Theatre at the University of Birmingham. Previously, she lectured at Queen’s University, Belfast and was an AHRC post-doctoral researcher on the Staging Beckett Project at the University of Reading (2012–2015).
    [Show full text]
  • University College Dublin School of English, Drama and Film MA Anglo-Irish Literature and Drama
    © Courtesy of Special Collections, Courtesy Collections, of Special © Library Joyce UCDJames University College Dublin School of English, Drama and Film MA Anglo-Irish Literature and Drama MA Anglo-Irish Literature and Drama: methods in their research projects, uniting Tradition to the Contemporary traditional subjects with contemporary modes. Throughout its history University College Dublin has A Unique Place to Study been deeply involved in the progress of Irish literary affairs. The MA in Anglo-Irish Literature and Drama The Masters in Anglo-Irish Literature and Drama is at UCD is the longest-established MA in this subject firmly embedded in Dublin’s exceptionally rich in the world. It is rooted in a unique tradition which literary and cultural environment. Each year the draws inspiration from the many internationally programme includes a Writer-in-Residence co- acclaimed Irish authors who were educated at UCD funded by the Arts Council; recent holders of the (writers such as James Joyce, Kate O’Brien, Mary position include Claire Keegan, Joseph O’Connor, Lavin, Flann O’Brien, Thomas Kinsella, John Hugo Hamilton and Molly McCloskey. Students are McGahern, Edna O’Brien, Maeve Binchy, Frank welcome to participate in events organized by the McGuinness, Éilís Ní Dhuibhne, Neil Jordan, Colm School’s James Joyce Research Centre and are Tóibín, Roddy Doyle, Marina Carr, Joseph O’Connor, encouraged to experience the wealth of Dublin’s Emma Donoghue and Conor McPherson). The UCD literary life in the form of theatre, poetry readings School of English, Drama and Film is also world and other cultural events including the Dublin renowned for the quality of its research expertise Theatre Festival, the Irish Film Institute and various and its teaching programmes in Irish writing.
    [Show full text]
  • Theatre of Possession: a Discussion of Marina Carr's the Mai
    (37) 'Theatre of Possession: A Discussion of Marina Carr-s The Mai and the Theatre of Legend Making Mika Funahashi ¶le purpose of this paper is to consider Marina Carr's The Mai (premiered in 1994, published in 1995), as a complex narrative tapestry textured with colourful women's stories and talk. This play resembles a patchwork quilt. It is composed of various pieces of stories and dialogue, and sewed together wi仇a thread of narrative, by a narrator Millie, a daughter of 刀le Mai. I will show the power of Carr's various techniques of narrative and voice and the possibility that this play invites the audience to join the recurring dialogue on stage and question it. ¶lis paper will begin with the structure of the play, focusing on Millie's role as narrator, sped五cally on her storytelling technique. ¶lis will involve analysis of The Mai's suicide and her mother's death, in relation to the social and cultural roles of women in Ireland. Marina Carr (1964 - ) was one of the most successful playwrights in Irish theatre in the 1990s. Her career started with a comedy in the tradition of Beckettian theatre of the absurd, and her continued work in this genre is evident in her second play, Low in the Dark (1989). With her丘fth play, The Mai, she adopted a more naturalistic style. Her use of tragic family drama was established in this play and the subsequent two plays: Portia Coughlan (1996) and By the Bog of Cats (1998). While By the Bog of Cats is a reworking of Euripides'The Medea her most recent play, Aeriel(2002) returns to Greek myth.
    [Show full text]
  • Marina Carr's Hauntings: Liminality and the Addictive Society on and Off the Stage
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-06-16 Marina Carr's Hauntings: Liminality and the Addictive Society On and Off the Stage Hillary Jarvis Campos Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Campos, Hillary Jarvis, "Marina Carr's Hauntings: Liminality and the Addictive Society On and Off the Stage" (2008). Theses and Dissertations. 1451. https://scholarsarchive.byu.edu/etd/1451 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. MARINA CARR’S HAUNTINGS: LIMINALITY AND THE ADDICTIVE SOCIETY ON AND OFF THE STAGE by Hillary Jarvis Campos A thesis submitted to the faculty of Brigham Young University In partial fulfillment of the requirements for the degree of Master of Arts in English Department of English Brigham Young University August 2008 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Hillary Jarvis Campos This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ____________________ _____________________________________ Date Claudia W. Harris, Chair ____________________ _____________________________________ Date Susan Howe
    [Show full text]
  • 25Th Anniversary Program Book
    ! S R A E Y 5 2 R O F Wednesday, July 23rd - Sunday, July 27th e g In Oakland, California n a h C r LESBIAN ACTIVISM o f CHANGING THE WORLD g n i z i n a g r O s n a i b s O e L l d Featuring: son a li s ag l o r A t o y s y M h r e t í h r o C r r e o h D C 25th Anniversary Program Book Old Lesbians Organizing for Change PO Box 5853 • Athens, Ohio 45701 Phone: 888-706-7506 Email: [email protected] www.oloc.org OLOC commits to women’s liberation, racial and class equality, and providing mobility, hearing, vision, and scent-free accessibility. zing fo ni r C ga h r a n O s g e n a i LESBIAN ACTIVISM CHANGING THE WORLD b s e F L o d r l 2 O 5 Y e ! a s r WELCOME TO THE OLOC NATIONAL GATHERING ur 25th Anniversary is a special occasion for OLOC, and how wonderful it is that you are able to join us for the celebration, in the place of our birth! The San Francisco Bay area is also home to our largest and oldest chapter, Owhose founder we honor with a Del Martin Old Lesbian Pride Award. You have made an effort to be here with us at the Oakland Marriott and we trust that you will find the program we offer well worth it.
    [Show full text]
  • Theatre at Galway International Arts Festival
    www.giaf.ie 2: GALWAY INTERNATIONAL ARTS FESTIVAL | 14 –27 July 2014 | Welcome to Galway International Arts Festival On behalf of Galway International Arts Festival we would like to welcome you to this year’s Festival. We have a new name and a new look and we hope you like both. The Festival has grown significantly over the last number ‘Enda’s plays take a lot of years and we felt it an appropriate time to introduce the name change and new design given our growing international reputation and the changing nature of what we do. We are very honoured to have so many wonderful out of you – but I love it’ artists, writers, performers and creative people join us from across the globe where once again new productions and exhibitions are at the heart of the Festival. Cillian Murphy on working with Enda Walsh We are very excited about this year’s Festival productions and co–productions Ballyturk , Chapatti and Room 303 and are thrilled to be working with so many By Charlie McBride Festival friends on these. It is wonderful to think that some of these projects are touring internationally and will carry the flag to both the UK and USA for Galway. THREE YEARS after he delivered an “We were ‘tecching’ Misterman one Cillian was still at university when he This builds on the continuing touring success of last year’s acting tour–de–force in Enda Walsh’s day in New York,” Enda recalls “and was cast in Corcadorca’s staging of Disco Festival co–productions The Rite of Spring , Petrushka , Misterman and 18 years after his Cillian was in the middle of a scene Pigs in the autumn of 1996.
    [Show full text]
  • Books, Plays, Musicals, One-Acts, and One-Woman Shows by Carolyn Gage
    Books, Plays, Musicals, One-Acts, and One-Woman Shows By Carolyn Gage www.carolyngage.com http://stores.lulu.com/carolyngage i How to Order the Books and Plays: All plays and books may be ordered from: http://stores.lulu.com/carolyngage as either hard copy or downloads.s For customers outside the US, contact the author at [email protected]. Catalog is also online at www.carolyngage.com. ii What Others Are Saying: “… Carolyn Gage is one of the best lesbian playwrights in America…” —Lambda Book Report, Los Angeles. “Gage is regularly hailed as one of the best lesbian playwrights in America, but I want to say—if she will allow this and I understand and accept if she won’t—simply one of our best playwrights.”—Sharon Doubiago, My Father’s Love, Portrait of the Poet as a Young Girl; Love on the Streets, Selected and New Poems. “… a whole women’s theatre tradition in one volume… wonderful to read—rich, original, deeply affirming—and must be phenomenal to see on stage. The culture of women we have never had is invented in Carolyn Gage’s brilliant and beautiful plays.” —Andrea Dworkin, feminist philosopher activist, and author. “The work of an experienced and esteemed playwright like Carolyn Gage is the air that modern theatre needs.” — Jewelle Gomez, author of The Gilda Stories, San Francisco Arts Commissioner. “Carolyn Gage is a fabulous feminist playwright, and a major one too. This is great theatre. Gage’s dramatic and lesbian imagination is utterly original… daring, heartbreaking, principled, bitter, and often very funny… There is no rhetoric here: only one swift and pleasurable intake of breath after another… Women’s mental health would improve, instantly, were they able to read and see these plays performed.”—Phyllis Chesler, author of Women and Madness.
    [Show full text]