Theatre and Performance Studies Commons^™

Howl Quixote, Office Of Arts + Cultural Programming, Peak Performances At Montclair State University

2016-2017 Break the Mold

Quixote is an evening‐length, memorized, music-­theatre-­dance piece performed by the interdisciplinary ensemble, HOWL, that Kirsten and DeChiazza founded to continue the vein of collaborative theater-work they began together with Colombine's Paradise Theatre. HOWL features the four members of Sandbox Percussion Quartet, as well as vocal artists Lindsay Kesselman, Hai-Ting Chinn, and Kirsten Sollek. The work was developed through a collaborative process in a series of workshops spanning two years, giving Kirsten and DeChiazza an opportunity to sharpen, deepen, and extend their integrated expressive language. Quixote was commissioned, produced, and developed under the auspices of Peak Performances at Montclair State University …

Five Miles Outside Town: A Play With Music, Luke John Mcloughlin

Theses and Dissertations

Months ago, I wanted to write something like an opera or a musical for my thesis. This is not quite what happened. Instead, I have written a play with music; that is, there are four solo songs interspersed within the drama. While there are parts of it that I would like to change, the present work (the pages following this abstract, the title page, the copyright page, the committee page, the acknowledgments page, and the table of contents) represents what I was able to put together within the restrictions of the academic schedule.

The following are descriptions of various facets …

Creative Writer's Festival 2017 Playbill, Providence College

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Smith Center for the Arts

Creative Writer's Festival 2017

Friday, March 17th

Saturday, March 18th 7 PM

THE IDEA OF YOU by Julia Zygiel

• Directed by Jonathan Coppe
• Man: Brian Kozak
• Woman: Sabrina Guilbeault
• Location: in front of Bowab Studio Theatre doors

RED SHEETS by Maggie Burke

• Directed by Sabrina Guilbeault
• Woman: Jennifer Dorn
• Location: Lower Lobby (near stairs)

STAY by Gabriella Sanchez

• Directed by Gabriella Sanchez
• Woman: Sabrina Guilbeault
• Location: Ground floor landing, near Music wing

WHOS LOOKING BACK [EXERPT] by Veronica Murphy

• Directed by Gaby DeParis
• Maggie: Veronica Murphy
• Reflection: …

Creative Writer's Festival 2017 Email Promotion, Providence College

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Smith Center for the Arts

Creative Writer's Festival 2017

Friday, March 17th

Saturday, March 18th 7 PM

Sameena Mustafa Interview, Uyanga Chinzorig

Asian American Art Oral History Project

Bio: Sameena Mustafa is a stand-up comedian, actor, and writer named in the Chicago Reader’s Best of Chicago 2016 issue. She has been featured in videos by The Onion and performed on world-famous stages like the Laugh Factory and Biograph Theater. A Northwestern University graduate, Sameena is a sought-after speaker and host, praised for founding Simmer Brown, a comedy showcase featured in the Chicago Sun-Times and Redeye Chicago.

Telethon, Jen Kennedy, Liz Linden

Published Works by SJSU Honorees

Inspired by experimental performances of the 1960s, Jen Kennedy and Liz Linden's TELETHON is a participatory performance staged in front of a live audience. The sounds of phone calls to random numbers—dial tones, ringing, voicemail, asking about feminism, surprised responses, clicks—are projected toward the audience to create a cacophonous illustration of contemporary feminism and connection. This event took place at the Hammer Museum in Los Angeles on March 4, 2017.

Melancholy Play (2017), Sarah Ruhl

Season 2016-2017

No abstract provided.

Art Infested Water, March 2017, Nova Southeastern University Department Of Visual And Performing Arts

Department of Performing and Visual Arts Newsletters

No abstract provided.

The Dramatization Of Cultural Hybridity And The "In-Between" Turkey In Fazıl's Künye, Önder Çakırtaş

CLCWeb: Comparative Literature and Culture

In his article "The Dramatization of Cultural Hybridity and the "In-Between" Turkey in Fazıl's Künye" Önder Çakırtaş addresses Turkey's historical context and exposes how political, social and cultural changes were expressed in Turkey's public sphere. Using Niyazi Berkes's theory of secularism as proceeding of modernism Çakırtaş discusses different examples of stylistic strategies of cultural hybridity in the playwright's historical-based play, Künye. He investigates how political changes in pre-Turkey times signify Turkey's national striving, and how the Ottoman-conservative past metamorphoses into Turkic-secular. The study juxtaposes the perceptions of 'introduction to Westernization' and 'departure from Islamic past' in a period …

Ite, Poly, University: 3 Levels, 1 Play, 4 Casts, Margaret Chan

Research Collection School of Social Sciences

A report on a first time educational project across three levels of Singapore educational institutions. The ITE-Republic Polytechnic-Singapore Management University theatre collaboration to stage Chong Tze Chien's "Charged" (2017) at ITE Central on 31 March to 1 April 2017.

Anarcho-Feminist Melodrama And The Manic Pixie Dream Girl, Claire T. Solomon

CLCWeb: Comparative Literature and Culture

In her article "Anarcho-Feminist Melodrama and the Manic Pixie Dream Girl (1929-2016)" Claire Solomon analyzes the Manic Pixie Dream Girl trope as an apparatus of capture (Deleuze and Guattari, A Thousand). More precisely, her article models how such tropes imply modes of reading anachronistically and metafictionally that decontextualize gestures of resistance and conflate female writers, performers, and characters across time and place. Solomon offers a situated formalist reading of Argentine playwright Salvadora Medina Onrubia's 1929 drama, Las descentradas, revealing an avant-garde counterpoint of melodrama and metafiction as an ambiguous alternative to capture.

Approaching The Value And The Future Of The Novel: A Book Review Article On Boxall's Scholarship, Yili Tang

CLCWeb: Comparative Literature and Culture

No abstract provided.

Review Of: Gavin Hollis, The Absence Of America: The London Stage, 1576-1642, Emily Soon

Research Collection School of Social Sciences

Given the premium often placed on the ‘special relationship’ between Britain and the United States in today’s public discourse, it is hard to imagine a time when transatlantic affairs were deemed peripheral to London’s interests. And yet, as Gavin Hollis, Associate Professor at Hunter College, City University of New York, reminds us, in the decades surrounding the 1607 founding of Jamestown, the New World was only of ‘marginal’ interest to those living in the Old (10). From the opening of the first permanent playhouse in 1576 to the closure of the theatres in 1642, a mere three English plays are …

Walk: Artist's Statement, Yozmit Walker

Mime Journal

Testifying to Thomas Leabhart’s legacy as a corporeal mime performer and educator, his former student Yozmit reflects on her performance piece “Walk,” a site-specific work created for a 2013 conference on Edward Gordon Craig at Pomona College (CA). Yozmit describes the way Leabhart’s teaching – partly inspired by Craig’s work – helped her to explore the balance between artistic thought and rigorous physical training.

Two Unknown Essays By Craig On The Production Of Shakespeare's Plays, Patrick Le Boeuf

Mime Journal

In the 1920s and 1930s, Craig drafted two essays on Shakespeare, neither of which was completed nor published. Although they cannot be ranked among Craig’s most inspired writings, these two unfinished essays are of great interest, as they show that Craig, then in his fifties-sixties, was walking on a thin line dividing two most contrasted landscapes: on the one hand he was more attracted than ever to forms of radical modernity, on the other hand he was at risk of indulging in gratuitously archaeological reconstitutions, while being aware of that danger.

Dreaming Of Light: On Edward Gordon Craig, Peter Sellars

Mime Journal

Sellars reflects on Craig’s legacy, emphasizing Craig’s focus on “making theatre out of light,” and casting Craig as “John the Baptist to Bob Wilson.” Sellars highlights the importance of Craig’s “keeping the dream space open,” but he also criticizes Craig for not traveling to experience the predominantly Asian cultures whose performance traditions he appropriated. Craig and Sellars have a shared interest in the functions of Baroque opera in socially cataclysmic times; Sellars speaks about the influence of Craig upon his stagings of Purcell and the St. Matthew Passion (first staged in 2010). Sellars celebrates Craig’s attempt to rescue the voice …

Picturing Robinson Crusoe: Edward Gordon Craig, Daniel Defoe And Image-Text Inquiry, Eric T. Haskell

Mime Journal

Haskell focuses on Craig’s work with art books in this essay. He offers a wealth of visual images to investigate influences upon Craig’s engraved illustrations for an edition of Defoe’s Robinson Crusoe, a project planned for the Cranach Press, executed during the late 1930s, and published posthumously by the Basilisk Press in 1979. Haskell calls attention to the way that this fascinating edition—previously overshadowed by the Craig-Cranach Press Hamlet in the scholarly literature—adds to our understanding of Craig’s theories of print as performance. He also offers a nuanced reading of the way that Craig’s illustrations function as interpretation, providing …

A Note On Sanity In Stage Productions Of Shakespearean Plays, Patrick Le Boeuf

Mime Journal

A previously unpublished essay by Edward Gordon Craig which elucidates his ideas about the “right” way to produce Shakespeare. Edited, with notes, by Patrick Le Boeuf.

Hamlet's Last Act: Artist's Statement, Sam J. Gold

Mime Journal

Gold contextualizes his performance piece Hamlet’s Last Act (video will be available on the Action, Scene, and Voice website going live in Summer 2017). He reflects on his own journey and process in creating the show, and also offers some fascinating information about Craig’s relationship to Asian puppetry traditions. Gold’s innovative show turns Craig’s wood engravings for the Cranach Press Hamlet into Balinese wayang kulit shadow puppets; Gold later discovered that Craig actually knew of this genre and referenced it in certain works. Gold explains how in Hamlet’s Last Act, Craig’s published engravings literally become performers, breaking down the …

Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman

Mime Journal

In this edited transcription of his remarks at the 2013 Pomona College (California) conference “Action, Scene and Voice,” Harvey Grossman elucidates the theory and practice of his two most important teachers: Edward Gordon Craig and Étienne Decroux. Grossman elucidates Craig’s much-debated comments on the “Art of the Theatre,” as well as Craig’s influence upon the French corporeal mime Étienne Decroux. He relates in detail Craig’s positive response to seeing Decroux and his students (among them Jean-Louis Barrault and Éliane Guyon) perform in 1945.