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fall 2005 progams International/World theatre series |
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fall 2005 progams International/World theatre series |
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THE GOLDEN AGE An evening with Spanish actor Eusebio LAzaro In this multimedia presentation, Eusebio Lázaro interprets excerpts from Spanish texts and poems of the Spanish Baroque through the modern era, including the work of Miguel de Cervantes, Luis de Góngora, Baltasar Gracián, Francisco de Quevedo, Lope de Vega, Lupercio and Bartolomé Leonardo de Argensola, Pedro Calderón de la Barca, Juan Ramón Jiménez, Federico García Lorca, Rafael Alberti, and Jorge Guillén. Images from the work of Spanish painters from the Baroque age to present—Diego Velázquez, El Greco, José de Ribera and Juan de Valdés Leal, Pablo Picasso, Antoni Tàpies, Antonio Saura—as well as images of the actor, Eusebio Lázaro, will add to the mise-en-scène. Cosponsor: Instituto Cervantes, The Spanish Cultural Center in New York 6:30 p.m., Monday, September 19, 2005, Martin E. Segal Theatre Res. Code 6415. Free
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EUSEBIO LÁZARO Courtesy of Eusebio Lázaro |
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Nelson Rodrigues (1912–1980) is considered the most important Brazilian playwright. Controversial and ambiguous, Rodrigues portrayed himself as a conservative, yet was one of Brazil’s most frequently censored playwrights. His plays were considered so disturbing and offensive that censors banned, for 21 years, one which had the innocuous title of Family Album. The premiere of another prompted an irate spectator to draw a gun. In spite of all of this, film director Bruno Barreto asserted that, if Rodrigues had written in English, “he would be as important as Tennessee Williams, O’Neill, or Pinter—such is the universal, timeless and subversive quality of his work.” Rodrigues’s status in Brazil is now that of a cultural hero. His most recognized and successful works include Vestido de Noiva (The Wedding Gown, 1943), O beijo no Asfalto (Kiss on the Asphalt, 1960), Bonitinha mas Ordinária (Cute but Ordinary, 1962), Toda Nudez será Castigada (All Nudity Shall Be Punished, 1965).
Symposium
Severino J. Albuquerque, University of Wisconsin at Madison; Ana Bernstein, NYU; Campbell Britton, UCLA; Fred M. Clark, UNC-Chapel Hill; David S. George, Lake Forrest College in Chicago; Claudio Medeiros, Middlebury College; Luiz Artur Nunes, Theatre of Universidade do Rio de Janeiro (UNIRIO), Brasil; Robert Stam, NYU
Readings
Kiss on the Asphalt and other plays, directed by Sara Cameron Sunde and others.
Cosponsor: The New York Rodrigues Festival; supported by The Brazilian Consulate, with the help of the Bildner Center
Symposium: 2–5:30 p.m., Tuesday September 27, 2005, Elebash Recital Hall
Celebration: 6:30 p.m., Tuesday, September 27, 2005, Elebash Recital Hall
Res. Code 6416, for both. Free
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BUTOH: DANCE DEMONSTRATION AND DISCUSSION An Evening with Japanese Butoh dance artists and critics Held in conjunction with the second biennial CAVE New York Butoh Festival (October 4–26), this evening serves as an introduction to, and an in-depth dialogue on, Butoh, the avantgarde dance form that emerged in post-World War II Japan. The evening will include selections from rare Butoh dance videos, demonstrations by Japanese dancers, and a panel of critics, academics, and Butoh artists from Japan, Europe, and the United States. The panelists will critically analyze the current themes and trends in Butoh and examine the future of this international and constantly evolving art form. Master Class with Yuko Kaseki Over the last 20 years, Yuko Kaseki has developed her own rich choreographic vocabulary that is rhythmic and elegant. Kaseki began her study of Butoh dance with Anzu Furukawa, a soloist of DAIRAKUDA-KAN during the 70s, and danced in two of Furukawa’s companies, Dance Butter Tokyo and Verwandlungsamt. In 1999 Kaseki and German director Marc Ates formed cokaseki, a company that has performed solo and ensemble works throughout Europe, Japan, and the US. Born in Japan, she has lived in Berlin since 1995. Cosponsor: 2nd CAVE New York Butoh Festival, Japan Society Dance Demonstration and Discussion: 6:30 p.m., Tuesday, October 18, 2005, Martin E. Segal Theatre Res. Code 6419. Free Workshop: 2–5 p.m., Tuesday, October 18, 2005, Martin E. Segal Theatre Res. Code 6418. $25 |
GOLDFADEN’S LEGACY: THE ORIGINS OF YIDDISH THEATRE A screening of Radu Gabrea’s documentary film about the origins of modern Yiddish theatre and Yiddish theatre pioneer, Abraham Goldfaden, followed by a presentation by New York’s Folksbiene Theatre, with Zalmen Mlotek. Discussion with Radu Gabrea and Harry Eliad (Romania), Shumel Atzmon (Israel), and Moshe Yassur (New York) to follow. Modern Yiddish theatre was created almost single-handedly by Goldfaden (1840–1908) in the 1860s and 1870s in Eastern Europe. Goldfaden had a background in rabbinical studies and his involvement with theatre began when he played the leading role in a Purim play. He abandoned his studies to write and publish several collections of Yiddish folk songs, and he then joined forces with a group of Broder singers to present what became known as the first professional Yiddish theatre performance—a two-act play in Jassy, Romania. In 1883 the Russian government banned Yiddish performances, and Yiddish actors and dramatists joined the mass emigration westwards across Europe to Paris, London, and New York. Goldfaden was forgotten by the time he arrived in New York’s Lower East Side Yiddish Theatre scene, but he enjoyed a revival of fame at the end of his life. 6:30 p.m., Tuesday, November 8, 2005, Harold. M. Proshansky Auditorium Res. Code 6420. Free |
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THEATRE OF HOPE: FOSTERING HEALING IN WAR RAVAGED LANDS
A special Evening with EXILE Theatre, Afghanistan / Pakistan
In Collaboration the Bond Street Theatre
Live presentation, film documentary, panel discussion and Q & A
Exile Theatre and Bond Street Theatre have traveled to orphanages, rural villages, and schools across Afghanistan, using theatre-based techniques as a way to mediate, solve problems, and encourage self-esteem. Since 2002, their combined efforts have reached over 25,000 children and adults.
EXILE THEATRE was established in 2000 in Peshawar, Pakistan, by Afghan theatre, film and TV artists who were forced to leave during the Taliban regime. Its mission was to rehabilitate the theatre arts in exile. They created plays that reflected the social, political and cultural conditions of the Afghan people, despite interference by Pakistan police on many occasions. Since their return to Afghanistan, they have become leaders in revitalizing the theatre arts in their country by introducing new dynamic forms of theatre, film and experimental media.
BOND STREET THEATRE founded in 1978, draws on the musical and gestural arts of many traditions and the physical performance styles from many cultures to create original theatre works. Recipient of a MacArthur Award, the company has received funding from the Trust for Mutual Understanding, ArtsLink and Arts International, and has performed in major theatres and festivals worldwide. The company is dedicated to creating theatre that crosses cultural borders and bringing their theatre work to refugee camps and areas of conflict.
6:30 p.m., Tuesday, November 29, 2005, Martin E. Segal Theatre
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THE ARAB OEDIPUS: READING AND DISCUSSION A celebration of the publication of the latest volume in the series of Martin E. Segal Theatre Center Publications: The Arab Oedipus: Four Plays. A collection of four translations of plays from the Arab world based on the Oedipus legend. Although other Greek myths, such as those of Electra and Orestes, have attracted more attention by leading dramatists in the West, Oedipus has been the Greek myth most developed by leading Arab dramatists, who have found in it grounding for political commentary, philosophic and theological meditation, and cultural satire. The four treatments in this book are by leading dramatists of the modern Arabic theatre: Tawfiq al-Hakim, Ali Salim, and Ali Ahmed Bakathir from Egypt; and Walid Ikhlasi from Syria. The plays range in time from ancient Greek Thebes and ancient Egyptian Thebes to a contemporary computer laboratory, where a super computer replaces the Delphic oracle as the source of the fatal prophesy. A discussion with editor Marvin Carlson, Sidney E. Cohn Distinguished Professor of Theatre and Comparative Literature at The Graduate Center CUNY and translator Dalia Basiouny will follow. 6:30 p.m., Monday, December 5, 2005, Martin E. Segal Theatre Res. Code 6421. Free |
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