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Feast Your Famine
Feast Your Famine: a watch-and-play is an interactive five-night performance-and-social-action hybrid event, re-envisioning the legacy of the "hero" in Western culture from medieval knights to today and seeking to practice new realities in community. With possibilities for multi-day game play or a single night's experience, audiences can join a diverse body of artists and activists in a journey of boundary crossing, soul-troubling, and action through both avant garde and traditional performances and social-action events -- set inside the framework of a re-imagined medieval feast. For details on the schedule and the presenters, please visit the Feast Your Famine website and follow the event on Instagram @feastyourfamine. This event is a result of Wistaria Project's Re-Residency, in which we "re-gift" the Performing Artist Residency we received from The Center at West Park to an exciting diversity of performers and activists. Each Re-Resident will present their work on one night of the festival. The Re-Resident Cohort has worked together to devise First Night and Last Night -- the opening and closing of the feast -- with interactive, hybrid performance/events to bring us together to imagine, engage, and take action here and now. Wednesday, November 13. FIRST NIGHT An interactive event inside a re-invented, justice-oriented medieval “feast”, created by the Re-Residents. Songs. Poetry. Activities. Quests. Re-Residents Mz Aza Metric Eric Farber Dhira Rausch Hee Ran Lee Jace Valentine (IntegrateNYC) Kelsey Pyro Monica Carillo Timothy Craig Wistaria Project Zafi Dimitropoulou Liquid Courage written by Kevin Green (Black Revolutionary Theater Workshop) Kevin Green is a Brooklyn-based actor/writer/producer. -
Cloth and Wood Come to Life When the Annenberg Center for the Performing Arts Presents the Philadelphia Premiere of Basil Twist’S Petrushka
March 21, 2011 CLOTH AND WOOD COME TO LIFE WHEN THE ANNENBERG CENTER FOR THE PERFORMING ARTS PRESENTS THE PHILADELPHIA PREMIERE OF BASIL TWIST’S PETRUSHKA April 6—16, 2011 "Brilliantly imagined, wonderfully expressive, and breathtakingly realized" New York Magazine (Philadelphia, March 21, 2011) — Cloth and wood come to life when the Annenberg Center for the Performing Arts presents the Philadelphia premiere of Petrushka, conceived, designed and directed by Basil Twist, April 6-16, 2011. A tour-de-force of music, movement, design and storytelling, Petrushka is a puppet- theatre version of the legendary 1911 Ballets Russes production Petrouchka, the story of a tragic love triangle between three magical creatures; the lovesick clown Petrushka, the alluring Ballerina and the dashing Moor, whose stories emerge amidst the swirl of the Russian carnival. For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office. The program begins with an abstract fantasia of puppetry set to Stravinsky's Sonata for Two Pianos, performed by Russian identical twin pianists Julia and Irina Elkina. After a brief pause, the trio of puppets takes the stage and the Elkina Sisters perform their own special two-piano arrangement of Stravinsky’s score based on the composer’s four-hand version of the piece. Nine hidden puppeteers dressed and hooded in black – Lindsay Abromaitis-Smith, Kate Brehm, Jenni Campbell, Kristen Kammermeyer, Keri Lewis, Jonothon Lyons, Marc Petrosino, Lake Simons and Christopher Williams – employ the puppetry technique Japanese Bunraku to bring the four feet tall puppets to life. -
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. -
News of the Strange
Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Lorna I. Pérez Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Sarah McEneaney, Matt Hunter Press Representation: John Wyszniewski/Everyman Agency BOARD OF DIRECTORS NEWS OF THE Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. STRANGE LAB ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. TMT PROGRAMS INSTITUTE The Institute is a year-long fellowship (January – December) that provides five diverse artists space, support and a $1,000 stipend to challenge themselves and their art-making practice. 2019 Fellows: Sarah Dahnke, Mashuq Mushtaq Deen, Yoni Oppenheim, Gabrielle Revlock, and Sarah K. Williams. ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid-career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in-Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, Deepali Gupta, Sarah Hughes, and Chana Porter. SPACE RENTALS THE DOXSEE THEATER Our SPACE program provides long term / short term studio nd space for all artists to gather and engage in their creative / 232 52 Street, BK 11220 cultural practices. -
Clove Galilee Performance Resume 2017-4
CLOVE GALILEE SAG/AFTRA [email protected], clovegalilee.com Hair: Brown Eyes: Brown Height: 5’2” FILM/TELEVISION NIVEA SMOOTH SENSATION Voice CHIAT DAY National Commercial DEAD END KIDS Stephanie JoAnne Akalaitis CONTEMPLATING EMILY Emily Dickinson Lisa Rothe IN LOVE AGAIN Alex Marjorie Mailman TRICK SADDLE John Wayne Jenny Rogers NEW YORK STAGE DIRECTOR IMAGINING THE IMAGINARY INVALID Toinette/ Madame Bejart LaMama ETC. Clove Galilee RED BEADS Girl Skirball Center Lee Breuer THE TEMPEST Young Miranda NYSF/ Delacorte Lee Breuer CARA LUCIA Lucia Joyce HERE Stage Sharon Fogarty THE ROARING GIRLE Jen Foundry Theater Melanie Joseph MABOU MINES’ LEAR France Triplex Theater Lee Breuer TRICK SADDLE Rodeo Clown PS 122 Jenny Rogers AN EPIDOG Leslie HERE Stage Lee Breuer SCHOOL FOR DEVILS Little Devil Primary Stages Ken Russ Schmoll ANIMAL MAGNETISM Cherie Obey St. Ann’s Warehouse Lee Breuer WICKETS (Fefu Adaptation) Julia HERE Stage & 3LD Jenny Rogers ECCO PORCO Rose, Sue Lee PS 122 Lee Breuer IMAGINATION DEAD IMAGINE Woman Performing Garage Ruth Maleczech THE SHAGGY DOG ANIMATION Young Rose The Public Theater Lee Breuer SUMMA DRAMATICA Joey The Flea Lee Breuer BEEBO BRINKER (Reading) Laura NY Theater Wkshp Linda Chapman REGIONAL SCOTUS Theater Elena Kagan Flight Deck, CA Becca Wolff SILENT SKY Henrietta Leavitt Knox Center, CA Kelly Ground SYMPHONIE FANTASTIQUE Puppeteer Zeum Theater, CA Basil Twist THE CONDUCT OF LIFE Nena Rites & Reasons, RI Sara Smith STUPID KIDS (original production) Kimberly Leeds Theater, RI Angela Robinson EVEN AMONG -
On Stealing Viewpoints
Performance Research A Journal of the Performing Arts ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: http://www.tandfonline.com/loi/rprs20 On Stealing Viewpoints Tony Perucci To cite this article: Tony Perucci (2017) On Stealing Viewpoints, Performance Research, 22:5, 113-124, DOI: 10.1080/13528165.2017.1384188 To link to this article: https://doi.org/10.1080/13528165.2017.1384188 Published online: 19 Dec 2017. Submit your article to this journal Article views: 79 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rprs20 On Stealing Viewpoints TONY PERUCCI Mary Overlie is an observer/participant, (NYU’s) Experimental Theatre Wing (ETW) a deconstructing postmodern theatre practitioner, studio incorporated them into their theatre an original anarchist. She is a woman who is not practice. However, the increasing currency of afraid of obscurity, or worried that being unknown the ‘Viewpoints’ name in recent years is largely might obscure her ideas … The Six Viewpoints is due to its popularization by the acclaimed her child. Mary Overlie, Standing in Space: The Six Viewpoints theatre director Anne Bogart, through her Theory & Practice (2016c: 198) well-known work with SITI Company and their regular training ‘intensives’, as well as As she admits freely and often, Anne Bogart stole the 2005 publication of Anne Bogart and Tina the Viewpoints from Mary Overlie, a postmodern Landau’s The Viewpoints Book: A practical dancer and choreographer from Montana who came to New York in 1971. guide to viewpoints and composition. Bogart has Scott Cummings, Remaking American Theatre: long boasted of having ‘stolen’ the Viewpoints Charles Mee, Anne Bogart and the SITI Company from Overlie during her brief time teaching (2006: 110) at ETW, the studio that Overlie had helped You do not take work from someone else and use to found. -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
Elevator Repair Service
ELEVATOR REPAIR SERVICE ABRONS ARTS CENTER A CONVERSATION BETWEEN JOHN COLLINS AND KATE SCELSA Kate Scelsa: So, John! John Collins: Kate, you’ve worked as a company member with ERS for about sixteen years now…And it turns out that you were doing stealth research for all these years on what would be perfect parts to write for some of our actors. KS: This is going to sound very sentimental, but writing this play has really felt like a love letter to this company. So it’s that, combined with my very deep love for Edward Albee’s play and specifically for the character of Martha. JC: And it’s exciting for me because I’m getting to work with one of my favorite novelists, who wrote one of my favorite books of the past couple of years. KS: Thank you for that plug. JC: It also fits in really nicely with the shows you’ve worked on with us, taking another work of great American literature as a jumping off point. And looking at the parts you’ve played in ERS shows, there have been a lot of Marthas in your life. KS: I’ve always been very interested in whether or not embodying that kind of female rage could be seen as sympathetic. Even powerful. Or if those women just become the shrew. Which means their rage can be dismissed. JC: Well you take Martha, who’s an extreme character… KS: She doesn’t care what anyone thinks of her. But what are the consequences of that attitude? For most of Albee’s play we see Martha as this incredible feminist character, in that she and her husband are on equal footing, and that’s what makes it so fascinating to watch, and fun to play. -
Annual Report
EMPOWERING NEW YORK CITY GIRLS THROUGH THE ARTS ANNUAL REPORT SEPTEMBER 2014 — AUGUST 2015 vI E ANNUAL rEPOrT IDE SEPTEMBER 2014 — AUGUST 2015 INS DearAs you look viBeback on our Community, 2014-2015 fiscal year, I hope you will enjoy PROGRAMS reflecting on all of the progress viBe Theater Experience has made over these last twelve months. We are very proud to have served our girls through our unique and comprehensive programming 3-4 that provides them with the nurturing necessary to help them findB their individual voices and then courageously share those stories with all of us. VIBE GIRLS When I took the seat of Board Chair in September, my goal was to SPEAK build viBe’s internal capacity so that we are positioned to leverage all of our resources – human and fiscal – to best serve our girls. To that end, we welcomed new board members who have brought critical 5 professional and administrative skills to our governing efforts. We also brought in new volunteers to the viBenefit Committee who worked tirelessly to ensure that our annual fundraiser was once again a huge success. Finally, we instituted a new SPECIAL membership model designed to increase support and encourage our donors to stay EVENTS engaged with our work. As we enter into the 2015-2016 fiscal year, we look forward to continuing to provide meaningful and transformative opportunities for our viBe girls. As Chair, I also look forward 5-6 to building on the Board’s efforts; truly a “working board,” we will continue to strategically align our committee work to support and grow our fundraising and programming efforts. -
Morgan Freeman
with Morgan Freeman Morgan Freeman stars in one of the greatest gospel performances of all time A renowned collaboration between experimental theater director Lee Breuer, composer Bob Telson, and, as the Messenger, Morgan Freeman, THE GOSPEL AT COLONUS retells Sophocles’ classical tragedy Oedipus at Colonus through the medium of modern gospel. This filmed version of the much-lauded 1985 Philadelphia performance traces the epic storyline of the original, while also interweaving Oedipus Rex, Antigone, and the Christian salvific narrative. Taking up the dramatic tension of classical tragedy and infusing it with passionate, inventive performances and electrifying gospel and soul music, this production also features an unforgettable cast, including Jevetta Steele, Isabell Monk, Clarence Fountain and the Blind Boys of Alabama . Finally available on DVD, THE GOSPEL AT COLONUS captures live theater at its most vibrant and innovative. • The historic and Obie award-winning stage production originally aired as part of the PBS Great Performances Series. • Starring Hollywood superstar Morgan Freeman , legendary singers The Blind Boys of Alabama, and acclaimed gospel performer Jevetta Steele. Art Not Final • Resounding critical acclaim across the board including The New York Times, San Francisco Chronicle, and The Washington Post. “The audience feeds the creative impulse.” – The New York Times DVD PREORDER OCT 28 RELEASE NOV 18 $26.95 srp U.S. Single catalog no. NNVG 132821 $29.95 srp Canada Approx. 90 mins., upc 7-67685-13282-1 Documentary, isbn 1-4229-1948-X Color ALSO RECOMMENDED COMPANY: ORIGINAL CAST ALBUM The extraordinary film captures the explosive recording session for Stephen Sondheim’s landmark Broadway musical. -
Access Provided by University of Texas-San Antonio at 04/22/11 3:28PM GMT Introduction
Access Provided by University Of Texas-San Antonio at 04/22/11 3:28PM GMT Introduction Jonathan P. Eburne and Rita Felski hat is an avant-garde? In posing such a question, this is- sue of New Literary History seeks to reexamine a category that Woften seems all too self-evident. Our aim is not to draw up a fresh list of definitions, specifications, and prescriptions but to explore the conditions and repercussions of the question itself. In the spirit of analogously titled queries—from Kant’s “What is Enlightenment?” to Foucault’s “What is an Author?”—we hope to spur reflection not only on a particular object of study but also on the frameworks and critical faculties that we bring to bear on it. As Paul Mann notes, every critical text on the avant-garde, whether tacitly or overtly, “has a stake in the avant-garde, in its force or destruction, in its survival or death (or both).”1 A reassessment of these stakes is one of the priorities of this special issue. Narratives of the avant-garde abound. Whether they come to bury the avant-garde or to praise it, these narratives are typically organized around moments of shock, rupture, and youthful revolt that speak to certain beliefs about the functions of experimental art and the nature of historical change. In his 1968 Theory of the Avant-Garde, for instance, Renato Poggioli describes two major phases in the development of the avant-garde. The first stage is anchored in the leftist politics of the 1840s and the 1870s, where the notion of an advanced guard serves to authorize the political agitations and underground activities that helped trigger the revolutionary events of 1848 and the Paris Commune. -
BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street ART MATTERS NOW MORE THAN EVER
Photo by Maria Baranova BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street ART MATTERS NOW MORE THAN EVER WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE UCLA’s Center for the Art of Performance (CAP UCLA) is the public facing research and presenting organization for the performing arts at the University of California, Los Angeles—one of the world’s leading public research universities. We are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. The central pursuit of our work as an organization is to sustain the diversity of contemporary performing artists while celebrating their contributions to culture. We acknowledge, amplify and support artists through major presentations, commissions and creative development initiatives. Our programs offer audiences a direct connection to the ideas, perspectives and concerns of living artists. Through the lens of dance, theater, music, literary arts, digital media arts and collaborative disciplines, informed by diverse racial and cultural backgrounds, artists and audiences come together in our theaters and public spaces to explore new ways of seeing that expands our understanding of the world we live in now. cap.ucla.edu #CAPUCLA Photo by Tony Lewis CAP UCLA Presents BY ROBIN FROHARDT Wednesday, June 30 - Sunday, July 11, 2021 661 Imperial Street (DTLA) One store, two ways to experince, hundreds of bags Installation: (Duration 30 mins.) Tue-Fri 2:30PM-5PM (last entry 4:30 PM) Sat & Sun 12:30PM-2PM (last entry 1:30 PM) July 4: Closed July 5: Special hours 12PM-7PM (last entry 6:30 PM) Immersive Film Experience: (Duration 60 mins.) Tue-Fri 1PM & 6PM Sat & Sun 11AM, 3PM & 5PM July 4: Closed Recommended for Ages 12+ due to current health protocols MESSAGE FROM THE ARTIST Dear Most Valued Customers: It’s almost impossible for me to try to explain what it is you are about to experience and the journey it took to get here.