This post offers two videos. First, a video excerpt of the Provincetown Tennessee Williams Theater Festival’s workshop production of In the Summer House (Act 2). At the end of this post is a video recording of the post-performance conversation I moderated with the show’s director David Kaplan.
The Korea Arts Management Service is considering project proposals submitted by international festivals, arts centers, and networks who will implement a project involving Korean performing groups/artists as part of their performance program.
You’ve likely not heard of Jane Bowles, but she wrote a cock-eyed, mesmerizing play that was one of the signal achievements of postwar American drama. It’s right up there with the classic works of Arthur Miller, Tennessee Williams, Gertrude Stein, late Eugene O’Neill, Lillian Hellman, and Sam Shepard. This post is about Jane Bowles’s unjustly neglected play: “In the Summer House.”
Christopher Chen is the sixth recipient of the Paula Vogel Playwriting Award, named in honor of playwright and teacher Paula Vogel, whose plays How I Learned to Drive (Pulitzer Prize for Drama) and The Long Christmas Ride Home premiered at The Vineyard.
Dino Mustafic, director of Festival MESS, describes this year’s Festival as conquest for happiness and hope. Mustafic, one of the most important theater directors in the region, adds that the theater in the Balkans is “struggling to survive.” Over the last five years, Festival MESS’s budget was slashed by 73 percent.
To track this creative upswing, the Austrian Cultural Forum, Goethe-Institut Washington, Embassy of Switzerland and Georgetown University’s Laboratory for Global Performance and Politics have launched “Theater of the Voiceless,” an international symposium and festival on documentary theater that runs June 16 to June 19 at various venues in Washington, D.C.
Members of the Filipino-American community are invited to hear musical excerpts from the opera and meet the producers and performed on Thursday, January 31st at 6:30PM at the Philippine Center. (556 Fifth Avenue).
BOSTON | You’ve heard of “Downton Abbey.” Do you know about Downtown Crossing? If the Englishness of the PBS series “Downton Abbey” fascinates most of us, Boston theater historian Susan Roberts hopes to intrigue us with the theatricality of Downtown Crossing, a storied area of Boston that was the home to many of the city’s theaters …
Diverse City Theater’s nervy production argues that Two Rooms has not lost an inch of topical relevance. The play has not lost its eloquence. It is a muted cry of rage.
“hotINK at the Lark 2013″ is seeking to present new work by six playwrights from outside the United States in public readings at the Lark Play Development Center, April 17-22, 2013.
If you are in the Los Angeles area, you might want to check out this reading, part of Native Voices’ signature FIRST LOOK SERIES: Plays in Progress.
“Tala” will perform in a workshop production July 28th to 31st at HERE Arts Center in downtown SoHo in New York City. The play, a work-in-progress, is a critique on the nature of political revolutions. Click here to read a play excerpt and see the work of the designers and actors as they prepare for the production.
And you thought these actors were just making things up as they went along. Didn’t you? Admit it. You did. This is an exclusive excerpt from Saviana Stanescu’s play “4 Alice” for THE WINDOW installation/performance project
This Cuban take on “Caligula” “consciously uses Albert Camus’s play to subvert cultural norms and our concept of masculinity. Why can’t a homosexual be portrayed as possessing as much violence and cruelty as a stereotypical heterosexual male chauvinist character? What does it mean to be gay and masculine? And why are these two terms still thought of as mutually exclusive?
Macadamia Nut Brittle is excoriating, sexy, hallucinatory, viciously funny. The plot steals from the mode of a reality-TV show, but its stance is subversive and punk. As the noisy evening unfolds, Ricci/Forte detonates, again and again and again, the illusory logic of this TV genre
The Window is a unique theatrical experience, because enigma is a principal aspect of its charms. An inspiring two-part site-specific performance-design project created and directed by Ana Mărgineanu for the Romanian Cultural Institute in New York (RCINY), The Window asks you to pay close attention if you happen to stroll by RCINY’s storefront spaces.
Felipe de Leon’s opera version of “Noli Me Tangere” is based on a historical novel by Jose Rizal which tracks the twilight of Spanish colonization in Philippines. A novel that rocked the Philippines to political consciousness in the late 19th century. A country whose classical opera tradition borrowed greatly from the introduction of European opera.
Polish Theatre Institute in the USA was created by a group of Polish theater artists who were refugees or became exiles of Communist/Soviet-occupied Europe.
The play tells the story of a Roma family that was forcedly expelled from Germany to Kosovo. In their new reality, this family confronts the challenges of living in a recently newborn state. One day, a Roma girl named Madeleine falls in a hole that was created by a construction company. The girl falls in a coma. As she fights for her life, her father strives to pursue justice. He faces bureaucratic officers, businessmen, policemen and embassy workers.
PITTSBURGH: ”The rules of democracy are under pressure,” states the Dutch avant-pop composer JacobTV. “Our government makes decisions without asking the parliament for permission. The Dutch government bailed out corporations and paid too much money. Everything in the world is changing right now. In a way, that has always been the case, but I think we …