Conference Program Co-Chairs Scott Magelssen, Jonathan Chambers, and Their Committee Have Created Will Suggest Answers to Those Questions
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Encorethe Performing Arts Magazine Altria 2006 ~ Ext Wa \Le Eesllilal
October 2006 2006 Next Wave Festival *~ ...."""......,...<... McDermott & McGough, THIS IS ONE OF OUR FAVORITE PAINTINGS, 1936/2005 BAM 2006 Next Wave Festival is sponsored by: ENCOREThe Performing Arts Magazine Altria 2006 ~ ext Wa \Le EeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Mycenaean Written and directed by Carl Hancock Rux Approximate BAM Harvey Theater running time: Oct 10, 12-14, 2006 at 7:30pm one hour and 30 minutes, Writer/director/music Carl Hancock Rux no intermission Lighting/sound design, co-video design Pablo N. Molina Co-video design, music, programming Jaco van Schalkwyk Mask design, co-scenic design Alison Heimstead Co-scenic design Efren Delgadillo Jr. Costume coordination Toni-Leslie James Dramaturgy Morgan Jeness BAM 2006 Next Wave Festival is sponsored by Altria Group, Inc. Music programming at BAM is made possible by a generous grant from The New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. Leadership support for BAM Theater is provided by The Shubert Foundation, Inc., with major support from SHS Foundation, Francena T. Harrison Foundation Trust, Harold and Mimi Steinberg Charitable Trust; and additional support from Billy Rose Foundation, Inc. Mycenaeaol..--- _ Cast Carl Hancock Rux Racine/Hippolytus Helga Davis Arachne Patrice Johnson Aricia Tony Torn Daedalus David Barlow Video Documentarian Ana Perea Dream Theorist Darius Mannino Dreamer/Soldier/Phillippe Celia Gorman Dreamer/Naiad/Nathalie Christalyn Wright Dreamer/Naiad Marcelle Lashley Dreamer/NaiadlWoman Niles Ford Dreamer/Soldier/ Minotaur Paz Tanjuaquio Dreamer/Naiad Kelly Bartnik Dreamer/Naiad Production Producer Carl Hancock Rux Executive Producers Stephen M. -
The Forty-First Annual Region III Festival 2009 Illinois, Indiana
The Forty-first Annual Region III Festival 2009 ynes H Jason Jason : y b esigned D Illinois, Indiana, Michigan, Ohio, Wisconsin January 6 to 11, 2009 Hosted by Saginaw Valley State University Presented and Produced by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theater Festival is sponsored by Delta Air Lines Additional support is provided by: The U.S. Department of Education Dr. and Mrs. Gerald McNichols The Laura Pels International Foundation The Kennedy Center Corporate Fund The National Committee for the Performing Arts Region III 41st Kennedy Center American College Theater Festival 1 2009 Festival Productions The Seagull by Anton Chekhov, translated by Jean-Claude van Itallie Purdue University Chekhov’s monumental masterpiece of unrequited love, failed ambition and the changing face of Russian theatre is presented here within a theatrical world of heightened realism and vivid metaphor. Mobile aquariums, the color TV of 1890’s Russia, white period furniture floating on a high gloss black floor, cascading light bulbs, a heightened Edwardian fashion sensibility and Gypsy music all pay homage to Chekhov’s own desire to have symbol and metaphor more fully represent the world of his plays. FRIDAY, JANUARY 9 8:00 PM Temple Theatre How I Learned to Drive The Trojan Women by Paula Vogel by Euripides, adapted by Ellen McLaughlin University of Michigan-Flint Oakland University “How I Learned to Drive” unfolds with all the slow motion clarity of an impend- The Women of Troy struggle with the aftermath of war and destruction of ing car crash as we witness the social dynamic that exposes a young girl to the sys- their beloved homeland. -
Welcome to Salt Lake City, Utah Fellow Naccsistas! This Is Not the First
Welcome to Salt Lake City, Utah fellow NACCSistas! This is not the first time NACCS comes to Utah, yet it may seem out of the way from the usual NACCS sites such as Texas, California, New Mexico or Illinois. As I thought about the theme of our conference, I reflected on my perceptions of why a place that is unfamiliar to me. Feeling uncomfortable made me question the very idea of my discomfort. Many of us tend to perceive our sense of familiar place within specific and historical geographical regions for Chicana and Chicano communities. If we stop to think for just a moment, we realize that although a concentration of Chicana and Chicano communities exist in the historical geographical regions of the Southwest, our communities as our people have expanded out for labor and to establish homes and raise families throughout the United States and in places such as Salt Lake City, Utah. It may be an obvious observation, but the fact is that many of us exist and think within a specific boundaries. Let’s ponder that for a quick moment. The conference theme, “Fragmented Landscapes in Chicana and Chicano Studies: Deliberation, Innovation, or Extinction?” comes from this very position of dislocation and invention. As we look out in the Chicana and Chicano Landscape, fragments of our communities exist in more and lesser-developed forms. We are not exactly regionally bound, we have morphed throughout the United States building communities and making our presence known. However, we are constantly being challenged, and we are constantly confronting and meeting those challenges whether they come from external or internal sources, from institutional forms of traditional limitations or from the creation of new survival strategies. -
Pieces of the Body, Shards of the Soul: the Martyrs of Erik Ehn
Pieces of the Body, Shards of the Soul: the Martyrs of Erik Ehn A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Rachel E. Linn May 2015 © 2015 Rachel E. Linn. All Rights Reserved. 2 This dissertation titled Pieces of the Body, Shards of the Soul: The Martyrs of Erik Ehn by RACHEL E. LINN has been approved for Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT LINN, RACHEL E., Ph.D., May 2015, Interdisciplinary Arts Pieces of the Body, Shards of the Soul: Erik Ehn's Martyrs Director of Dissertation: William F. Condee This dissertation demonstrates that theatre has had a longstanding interest in the possibility of one object changing into another through miraculous means. Transubstantiation through art has occupied Western theatre from its roots in the medieval period. Contemporary theatre holds on to many deep-rooted assumptions about the performing body derived from medieval religious influence, both consciously and unconsciously. This influence is more pronounced in certain writers and artists, but it manifests itself as a lingering belief that the body (living and dead) is a source of power. This dissertation finds religious influence and an interest in the performing body’s power in the martyr plays of Erik Ehn. According to theologians like Andrew Greeley and art scholars like Eleanor Heartney, artists associated with the Catholic Church show an especially keen fascination with the body as a sacred object. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large
AUGUST 2013 Welcome to N. Richard Nash may have penned The Rainmaker nearly 60 years ago, but director Maria Mileaf’s production does not turn back the clock. Instead, she offers us a fresh look at an American classic, reminding us that love and longing, dreams and self-discovery are as timeless as rain. This production marks Maria’s Globe debut, and we are delighted to welcome her here for the first time. She is joined by an exceptional design team, including scenic DOUG GATES designer Neil Patel, costume designer Katherine Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. Roth, lighting designer Japhy Weideman and sound designer Bart Fasbender. The Old Globe’s campus truly comes to life in the summer. Productions run simultaneously on all three of our stages, and the plaza bustles with pre-show excitement. In the Lowell Davies Festival Theatre, the 2013 Shakespeare Festival is already underway, featuring productions of Shakespeare’s The Merchant of Venice and A Midsummer Night’s Dream, along with Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. Despite the prominence of the Summer Shakespeare Festival, our indoor venues are by no means in its shadow. In addition to The Rainmaker, the Globe’s summer season includes a sexy, stylish adaptation of the noir classic Double Indemnity. This is a truly remarkable group of productions, and we hope you will have the chance to see them all. We also look forward to having you back this fall for the start of our 2013-2014 season! With two sensational new musicals, three award-winning plays about contemporary life by thrilling young American voices, a tour-de-force by an American comedic master, a poetic classic by a 20th century giant, and the return of Shakespeare to the indoor stage, this remarkable and wide- ranging lineup of productions stays true to the Globe’s storied reputation even as it edges the company forward in some exciting new directions. -
Bush Artist Fellows
Bush Artist 2003Fellows 2003 Bush Artist Fellows LITERATURE POETRY, FICTION, CREATIVE NONFICTION Mai Neng Moua Lee Ann Roripaugh David Treuer Ka Vang Wang Ping SCRIPTWORKS PLAYWRITING AND SCREENWRITING Vincent Delaney Adelaide MacKenzie Fuss Kevin Kling FILM • VIDEO Liza Davitch Jenny Lion David Ryan MUSIC COMPOSITION Philip Blackburn Tellef Johnson Michelle Kinney J.D. Steele 2 Bush Artist Fellowships stablished in 1976, the purpose of the Bush Artist Fellowships is to provide artists with significant E financial support that enables them to further their work and their contributions to their communi- ties. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for collabo- rative or community projects, or for travel or research. No two fellowships are exactly alike. Eligible artists reside in Minnesota, North and South Dakota, and western Wisconsin. Artists may apply in any of these categories: VISUAL ARTS: TWO DIMENSIONAL VISUAL ARTS: THREE DIMENSIONAL LITERATURE Poetry, Fiction, Creative Nonfiction CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART/STORYTELLING SCRIPTWORKS Playwriting and Screenwriting MUSIC COMPOSITION FILM • VIDEO TRADITIONAL AND FOLK ARTS Applications for all disciplines will be considered in alternating years. 3 2003 Panels PRELIMINARY PANEL PRELIMINARY PANEL FINAL PANEL FILM • VIDEO MUSIC COMPOSITION Anthony Davis Judy Irving Anthony Davis Composer and Professor of Music Documentary filmmaker Composer and Professor of Music University of California–San Diego San Francisco, California -
SHAKESPEARE DALLAS THEATRE and ACTING CAMP Now Enrolling Grades 2 - 12
PRESENTS HAMLET PROJECT June 3 - 13, 2021 at 8:15pm Samuell-Grand Amphitheatre Dallas, Texas shakespearedallas.org | 2 PRESENTS HAMLET PROJECT With Original Monologues by Migdalia Cruz and Erik Ehn June 3 - 13, 2021 Samuell-Grand Amphitheatre 1500 Tenison Parkway Dallas, TX 75223 shakespearedallas.org | 3 Welcome to the People’s Theatre. Love. Family. Ambition. Betrayal. At Shakespeare Dallas we’ve been bringing timeless themes like these to life for almost 50 years. As North Texas’ leading professional theatre company performing the works of William Shakespeare, we believe that Shakespeare is for everyone. That means providing fun and accessible indoor and outdoor theatre, integrated school programs and cultural enrichment for people of all ages and backgrounds. For many, interacting with Shakespeare Dallas is a tradition that has crossed generations and delighted guests since our founding. Our Mission Using Shakespeare’s works as a cornerstone, Shakespeare Dallas serves the Southwest region with fun and accessible indoor and outdoor theatre, integrated school programs, and cultural enrichment for people of all ages and backgrounds. Shakespeare Dallas Staff Executive & Artistic Director .............................................................. Raphael Parry Associate Artistic Director ....................................................................Jenni Stewart Director of Community Engagement ..................................................Marie Facini Production Manager ..........................................................................Adrian -
Build As We Fight
Build As We Fight American Studies Association November 7–10, 2019 • Honolulu, HI AMERICAN STUDIES ASSOCIATION PRESIDENTS, 1951 TO PRESENT Carl Bode, 1951–1952 Paul Lauter, 1994–1995 Charles Barker, 1953 Elaine Tyler May, 1995–1996 Robert E. Spiller, 1954–1955 Patricia Nelson Limerick, 1996–1997 George Rogers Taylor, 1956–1957 Mary Helen Washington, 1997–1998 Willard Thorp, 1958–1959 Janice Radway, 1998–1999 Ray Allen Billington, 1960–1961 Mary C. Kelley, 1999–2000 William Charvat, 1962 Michael Frisch, 2000–2001 Ralph Henry Gabriel, 1963–1964 George Sánchez, 2001–2002 Russel Blaine Nye, 1965–1966 Stephen H. Sumida, 2002–2003 John Hope Franklin, 1967 Amy Kaplan, 2003–2004 Norman Holmes Pearson, 1968 Shelley Fisher Fishkin, 2004–2005 Daniel J. Boorstin, 1969 Karen Halttunen, 2005–2006 Robert H. Walker, 1970–1971 Emory Elliott, 2006–2007 Daniel Aaron, 1972–1973 Vicki L. Ruiz, 2007–2008 William H. Goetzmann, 1974–1975 Philip J. Deloria, 2008–2009 Leo Marx, 1976–1977 Kevin K. Gaines, 2009–2010 Wilcomb E. Washburn, 1978–1979 Ruth Wilson Gilmore, 2010–2011 Robert F. Berkhofer Jr., 1980–1981 Priscilla Wald, 2011–2012 Sacvan Bercovitch, 1982–1983 Matthew Frye Jacobson, 2012–2013 Michael Cowan, 1984–1985 Curtis Marez, 2013–2014 Lois W. Banner, 1986–1987 Lisa Duggan, 2014–2015 Linda K. Kerber, 1988–1989 David Roediger, 2015–2016 Allen F. Davis, 1989–1990 Robert Warrior, 2016–2017 Martha Banta, 1990–1991 Kandice Chuh, 2017–2018 Alice Kessler-Harris, 1991–1992 Roderick Ferguson, 2018–2019 Cecelia Tichi, 1992–1993 Scott Kurashige, 2019–2020 Cathy N. Davidson, 1993–1994 Dylan Rodriguez, 2020–2021 COVER Our cover was designed bu Joy Lehuanani Enomoto, a mixed media visual artist and social justice activist. -
Jones O Book4cd W RDX.Pdf
BLACK PERFORMANCE AND CULTURAL CRITICISM Valerie Lee and E. Patrick Johnson, Series Editors All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Theatrical Jazz PERFORMANCE, ÀS· E· , A N D THE POWER OF THE PRESENT MOMENT Omi Osun Joni L. Jones THE OHIO STATE UNIVERSITY PRESS | COLUMBus All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Jones, Omi Osun Joni L., 1955– author. Theatrical jazz : performance, Àse, and the power of the present moment / Omi Osun Joni L. Jones. pages cm — (Black performance and cultural criticism) Includes bibliographical references and index. ISBN 978-0-8142-1282-0 (cloth : alk. paper) — ISBN 978-0-8142-9387-4 (cd) 1. Performance art. 2. African American theater. 3. Jazz—Philosophy and aesthetics. I. Title. II. Series: Black performance and cultural criticism. PN1584.J66 2015 781.65'112—dc23 2014047887 Cover design by Janna Thompson-Chordas Text design by Omi Osun Joni L. Jones and Juliet Williams Type set in Adobe Minion Printed by Thomson-Shore, Inc. Cover image: “Women on Horseback,” by Carl E. Karni-Bain “BAI.” The four quadrants of the painting offer repetition with a difference. The barely discernable galloping black horses arch their necks in the up- per right sections while their hind legs glide forward, each quadrant offering its own experience. Photo by Elisa Durrette. The paper used in this publication meets the minimum requirements of the American National Stan- dard for Information Sciences—Permanence of Paper for Printed Library Materials. -
Friday, November 8, 2013
FRIDAY, NOVEMBER 8, 2013 12:00 PM – 1:15 PM Career Sessions 7:15 AM – 8:15 AM organizer Graduate Mentor Meeting: Meet Your Mentor Koritha Mitchell, Ohio State University Executive Room, Banquet Level #CS 1 | Publish, Don’t Perish: Articles 8:00 AM – 10:00 AM Oak Room, Banquet Level Coffee and Breakfast Breads in the Exhibit Hall moderators Gold Room, Banquet Level Alan Ackerman, editor of Modern Drama; David Savran, co-editor of Journal of American Drama and 8:00 AM – 5:00 PM Theatre (JADT); E. J. Westlake, an author who has Registration Open published in a range of journals and edited volumes Regency Foyer, Banquet Level description This session will address every aspect of writing and 8:00 AM – 6:00 PM; CLOSED 1:30 PM – 2:30 PM publishing articles in journals devoted to Theatre and Exhibit Hall Open Performance Studies as well as those less focused Gold Room, Banquet Level on the field. Speakers are also prepared to discuss publishing work in essay collections. Please come with 8:30 AM – 10:00 AM questions; there will be plenty of time for conversation. Plenary #3 #CS 2 | Publish, Don’t Perish: Books Regency Ballroom, Banquet Level Far East Room, Banquet Level chair moderators Shannon Rose Riley, San Jose State University Robin Bernstein, author of New York University panelists Press monograph and edited books; LeAnn Fields, Gibson Alessandro Cima, Tshwane University acquisitions editor, University of Michigan Press; of Technology, South Africa Mike Levine, acquisitions editor, Northwestern Future Nostalgias: Theatre, Memory, and Post-apartheid University Press 12 South Africa description Ellen MacKay, Indiana University This session will offer advice for those preparing to write William Henry Ireland and Theatre History’s Oaken Chest and publish their first monograph. -
Brian Eugenio Herrera
September 2018 BRIAN EUGENIO HERRERA Princeton University [email protected] W327 Wallace Dance Building & Theater 609-258-4837 (OFFICE) Program in Theater, Princeton University 609-258-2230 (FAX) Princeton, NJ 08544 http://scholar.princeton.edu/bherrera EDUCATION Ph.D., American Studies, Yale University, New Haven, Connecticut. M.A., American Studies, University of New Mexico, Albuquerque, New Mexico. B.A., American Civilization, Brown University, Providence, Rhode Island. ACADEMIC APPOINTMENTS 2018- Associate Professor of Theater, Lewis Center for the Arts, Princeton University, Princeton, New Jersey. Associated faculty in Gender & Sexuality Studies; Latino Studies; American Studies. 2012-18 Assistant Professor of Theater, Lewis Center for the Arts, Princeton University, Princeton, New Jersey. 2007-12 Assistant Professor, Department of Theatre and Dance, University of New Mexico, Albuquerque, New Mexico. 2005-07 Temporary Part-Time Instructor, University of New Mexico, Albuquerque, New Mexico. Appointments in Department of Theatre and Dance (2005-2007); Department of English Language & Literatures (2005). 2004-05 Temporary Part-Time Instructor, Southwest Indian Polytechnic Institute, Albuquerque, New Mexico. Appointment in Liberal Arts (Humanities Program). 2003 Visiting Lecturer, Department of Theatre, Speech and Dance, Brown University, Providence, Rhode Island. AWARDS, FELLOWSHIPS & GRANTS 2016 Honorable Mention, John W. Frick Book Award, given by the American Theatre and Drama Society, for Latin Numbers: Playing Latino in Twentieth Century U.S. Popular Performance. 2015 George Jean Nathan Award for Dramatic Criticism for Latin Numbers: Playing Latino in Twentieth Century U.S. Popular Performance. 2014-15 Donald D. Harrington Faculty Fellow, University of Texas at Austin, Department of Theatre and Dance. 2014 Brooks McNamara Publishing Subvention Grant, American Society for Theatre Research. -
Adaptation As Reader-Response to the Sound and the Fury a Thesis Presented to the Faculty of the College of Fine Arts of O
Adaptation as Reader‐Response to The Sound and the Fury A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Rachel E. Linn June 2008 2 This thesis titled Adaptation as Reader‐Response to The Sound and the Fury By RACHEL E. LINN has been approved for the School of Theater and the College of Fine Arts by ________________________________________________ Jordan R. Schildcrout Assistant Professor of Theater ________________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT LINN, RACHEL E., M.A., June 2008, History and Criticism Adaptation as Reader‐Response to The Sound and the Fury (58 pp.) Director of Thesis: Jordan R. Schildcrout In order to understand the complex relationship between original and the adaptation, the paper uses the influential novel, William Faulkner’s The Sound and the Fury, and adaptations of that work in different media to explore the creation of an adaptation and some reasons why an artist creates an adaptation as well as what is altered in a work by removing it from its original context. A general investigation process that leads to adaptation will allow for a further exploration of two adaptations for the stage: Erik Ehn’s The Sound and the Fury and the Elevator Repair Service’s The Sound and the Fury (April Seventh, 1928); and a look into Martin Ritt’s The Sound and the Fury as adapted for film will stand as a possible unsuccessful adaptation in order to allow the reader to question what makes an adaptation successful.