Sound Archive Collection Guides: Drama and Literature
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YALE-NUS SYLLABUS for AMERICAN AVANT-GARDE THEATER of the 1960’S and 1970’S
YALE-NUS SYLLABUS FOR AMERICAN AVANT-GARDE THEATER OF THE 1960’s AND 1970’s YHU 3304, Spring semester, 2019 Mondays and Thursdays, 9am-10:30am Room Y-CR9 Professor Joan MacIntosh [email protected] Office hours by appointment only, Mondays, after class. Additionally, there will be a mid-semester conference with each student and an end-of-the-year conference with each student, to give and receive feedback. These will be scheduled within the semester time, and will not infringe on either the Spring Break or the end of the year Reading Period. COURSE OVERVIEW This seminar course will explore the American Avant-Garde Theatre of the 1960’s and 1970’s, and its enduring significance. It will include an examination of the political, social, economic, and aesthetic events that led to its beginnings, and will follow the journey of its passionate creativity and diversity of expression, as well as the political upheavals and the cultural revolution that were inextricably a part of it. Readings will include the work of Gertrude Stein, Allen Ginsberg, The Living Theatre, The Open Theater, The Performance Group, Richard Foreman’s Ontological-Hysteric Company, Charles Ludlam’s Ridiculous Theatrical Company, Mabou Mines, and others. We will also read 1968, Environmental Theatre, Be Here Now, Towards a Poor Theatre, and selected historical overviews. We will explore each group’s vision, body of work, dynamics, and relation and significance to their world. In line with this, students will write about these theatre companies, and create their own live performances and work, based on the readings, possible films, and discussions. -
Factsheet the Netherlands and the European Audiovisual Sector
25 years of MEDIA Factsheet The Netherlands and the European audiovisual sector MEDIA budget invested in The Netherlands (2007-2015): €42.4 million Since 1991, MEDIA has provided support to strengthen Europe’s audiovisual sector, including the film, TV and videogames industries, so that it can creatively convey the breadth of Europe’s rich cultural diversity to audiences around the world. Over €2.4 billion has been invested in enhancing the careers of audiovisual professionals and in giving new audiences access to Europe’s wealth of creative and cultural achievements in cinemas, on TV and on digital platforms. EXAMPLES of success stories Many Dutch projects have benefited from the help of the MEDIA programme: CineMart - International Film Festival Rotterdam (2007-2015: €1,950,000) – Market Access IDFA Bertha Fund-Europe - St. Jan Vrijman Fonds (2014-2015: €620,000) – International Coproduction Funds DocsOnline (2007-2015: €1,085,000) – Online Distributie … Paradise Now! (2005) Kauwboy (2012) Fish Tank (2009) Best Foreign Language Film Best First Feature at the Berlinale Jury Prize Award at Cannes Festival at Golden Globe awards European Discovery - Prix Fipresci Alexander Korda Award for Best British Nominated for the Academy Award at European Film Awards Film at BAFTA awards for Best Foreign Language Film Cinekid is supported through the calls for Festivals, Market Access, Audience Development and Training and this enables them to support the whole audiovisual chain: from script development, co-production, distribution/acquisition to knowledge exchange. This is of vital importance in a rapidly changing media landscape. Thanks to the MEDIA support, Cinekid can focus on cultural diversity and artistic quality. -
Contemporary American Playwriting the Issue of Legacy
CONTEMPORARY AMERICAN PLAYWRITING The Issue of Legacy Jason Grote, Caridad Svich, and Anne Washburn in conversation with Ken Urban espite proclamations to the contrary, there is a surge of new writing in the American theatre. Not plays masquerading as films or TV shows, but seri- ous plays written by writers with a passionate commitment to the stage. DBut since this new generation of theatre artists is less centralized than previous ones, working in cities and towns across the U.S., it is hard to talk about a specific movement or scene. For those working in New York City, Off-Off Broadway no longer adequately describes the theatre that these playwrights create. Such writers do not want to be defined in relation to Broadway, for Broadway ceased to be a venue for adventurous new writing decades ago. This conversation is an attempt by four playwrights to define some of the identifying characteristics and concerns of this new writing. The starting point is the issue of legacy: How do the historical avant-garde, the Language Playwrights of the 1970s and 80s (Mac Wellman, Jeffrey Jones, Len Jenkin), and the classics influence contemporary playwriting? To gain a better sense of what is happening now, it proves beneficial to look back. The conversation featured Jason Grote, Caridad Svich, and Anne Washburn. Jason Grote is the recipient of the 2006 P73 Playwriting Fellowship and co-chair of the SoHo Rep Writer/Director Lab. He is writing The Wal-Mart Plays for the Working Theater in New York. Caridad Svich is a resident playwright at New Dramatists and editor of Trans-Global Readings: Crossing Theatrical Boundaries and Divine Fire: Eight Contemporary Plays Inspired by the Greeks. -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
1 CURRICULUM VITAE MAC WELLMAN 220 Berkeley Place, 2F
CURRICULUM VITAE MAC WELLMAN 220 Berkeley Place, 2F Brooklyn, NY 11217 Phone: (718)636-7484 Cell: (917)697-9533 Website: <www.macwellman.com> Email: [email protected] STAGE PRODUCTIONS : ANNIE SALEM [TEAM musical version]. Royal Court, London UK, 2015. Sundance, Utah, 2015. Ars Nova, New York, 2016 Vassar College, Poughkeepsie NY, 2019. PHAETHON. CSC Greek Festival, New York, 2015. THE OFFENDING GESTURE. Virginia Tech/Under St Marks, New York, 2014. Brooklyn College, New York, 2014 Jack, Brooklyn, NY, 2015. NYU, New York, 2015. Prelude 15, New York, 2015. The Tank/Connelly Theater, New York, 2016. Son of Semele Ensemble, L.A., 2017. 9 DEVILS (Kuki). 3LD, New York, 2013. WU WORLD WOO. Great Plains Theatre Conference, Omaha NE, 2013. 1 Sleeping Weazel, Boston MA, 2013. HORROCKS (AND TOUTATIS TOO) Proposition series at the New Museum, New York, 2013. St Francis College, Brooklyn NY, 2013. Great Plains Theatre Conference, Omaha NE, 2013. Sleeping Weazel, Boston MA, 2013. 3 2's; or AFAR. Little Theater at Dixon Place, New York, 2011. Dixon Place, New York, 2011. Central Academy of Drama, Beijing China, 2014 MUAZZEZ. Tribeca Lighting/ Chocolate Factory, New York, 2011. Prelude 11, New York, 2011. Great Plains Theatre Conference, Omaha NE, 2012. Fisher Center, BAM, Brooklyn NY 2012. Fusebox Festival, Austin TX, 2013. PS 122 (COIL), Chocolate Factory, New York, 2014. DOCTOR RAVENELLO; OR 1965 UU. Theater Lang, New York, 2008. HotINK, NYU, New York, 2008. The Chocolate Factory, 2008. Proctor’s, Schenectady, 2008. NINE DAYS FALLING. Stuck Pigs/ Performing Lines, Melbourne Australia, 2007. BEFORE THE BEFORE AND BEFORE THAT (Twas the Night Before ...) Chelsea Art Museum and The Flea, New York, 2006. -
Note on Contributors
Note on Contributors Note on Contributors Sofia Apospori is currently a PhD candidate at Royal Holloway, University of London. Her research, which is supervised by Professor Helen Nicholson and advised by Dr. Colette Conroy, explores theatre for people with visual impairments. More specifically, it engages with the theoretical, aesthetic and ethical challenges that are implicated by the re-evaluation of performance space in reference to visual and non-visual perception respectively. Over the last two years, Sofia has been a visiting tutor in the Department of Drama and Theatre Studies, teaching Writing and Performance and Staging Histories. She holds a BA in Drama and Theatre Studies and an MA in Theatre (Applied Drama), both of which were awarded by Royal Holloway, University of London. Beatriz Cantinho is presently developing practice based research work as a PhD student in Dance/Philsophy at the Edinburgh College of Art. Her work focuses mainly on the mechanisms of image perception within aesthetics and performance art. The academic research as been presented at Edinburgh University, Chelsea College of Art, Cambridge University and the University of Surrey. Beatriz graduated from the Superior School of Dance at Instituto Politécnico de Lisboa. She took an intensive training course in Noh Theatre at the Kyoto Art Centre. She has completed a professional internship in the theatre company Royal de Luxe. Artistically for the past few years she has been developing work as a choreographer in projects such as Parde2, Scch…Um Ensaio Sobre o Silêncio, and Peça Veloz Corpo Volátil. She has also been involved in collaborative projects with artists from different disciplines with work that has been presented in Portugal, France, the UK, Germany, and Austria. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E. -
A Case Study of the 2008 European Capital of Culture, Liverpool
Article The Cultural Legacy of a Major Event: A Case Study of the 2008 European Capital of Culture, Liverpool Yi-De Liu Graduate Institute of European Cultures and Tourism, National Taiwan Normal University, Taipei 106, Taiwan; [email protected] Received: 23 June 2019; Accepted: 26 July 2019; Published: 26 July 2019 Abstract: Cultural legacy is a relatively neglected theme in event and sustainability studies, compared to economic or physical legacies with solid evidence. This article focuses on the experience of Liverpool as the 2008 European Capital of Culture. An evaluation ten years on can provide the basis for research on the long-term cultural legacy of a major event, as well as how to achieve sustainability through legacy planning. Five dimensions of cultural legacy are explored, including: Cultural agency and strategies, cultural network, cultural provision, cultural engagement, and cultural image. The results of the study show that the spill-over effect of culture can be achieved through thorough legacy planning. The most important lesson learned from Liverpool is to integrate the event into the city’s long-term and culture-led development, which yields a healthy and productive cultural climate. Keywords: event sustainability; cultural legacy; legacy planning; European Capital of Culture; Liverpool 1. Introduction In view of the economic, social and cultural impacts, more and more cities are competing to host major events. However, due to the short-lived and one-off nature, the event itself may not be sustainable. The sustainability of major events, or their legacy or long-term impact, has been the focus of discussion in recent years. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
The-Vandal.Pdf
THE FLEA THEATER JIM SIMPSON artistic director CAROL OSTROW producing director BETH DEMBROW managing director presents the world premiere of THE VANDAL written by HAMISH LINKLATER directed by JIM SIMPSON DAVID M. BARBER set design BRIAN ALDOUS lighting design CLAUDIA BROWN costume design BRANDON WOLCOTT sound design and original music MICHELLE KELLEHER stage manager EDWARD HERMAN assistant stage manager CAST (IN ALPHABETICAL ORDER) Man...........................................................................................................................Zach Grenier Woman...............................................................................................................Deirdre O’Connell Boy...........................................................................................................................Noah Robbins CREATIVE TEAM Playwright...........................................................................................................Hamish Linklater Director.......................................................................................................................Jim Simpson Set Design..............................................................................................................David M. Barber Lighting Design.........................................................................................................Brian Aldous Costume Design......................................................................................................Claudia Brown Sound Design and Original -
The Art of Performance a Critical Anthology
THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company.