The Role of the Reader
(Subjective Reader-Response Theory)
The theory of reader-response criticism is based on the understanding that a work of art's meaning to an individual has more to do with the individual than the work of art. The reader or audience member is actually a key player in the performance because of what they bring to the table. Everything in their background and make-up as a person shapes how they view and understand the art, and therefore what the meaning/value/interpretation of that art is. Where this critical lens gets really interesting is when a work of art is so ambiguous that different individuals come to startlingly different conclusions about the work in whole or in part, and what unconscious truths those conclusions reveal about ourselves and one another. The film version of 'No Country for Old Men' is one such work of art. Though the plot is that of a crime thriller, for me the interest lies more in the characters, their natures and the forces that drive them. But as I watch the film I am conscious that my own memories, feelings, and experiences, or symbolization, shape my interpretation. I desire to reconcile the film to my personal knowledge. The impression I am left with is composed greatly by my own life.
Unlike many conventional dialog centered movies and novels, where the characters tell you up front everything they are thinking and feeling, McCarthy's characters are dramatically more subtle and mysterious, qualities that the Coen brothers capture brilliantly with their style of filming. There is very little dialog in the film, the story is presented primarily throught both dramatic and subtle imagery, which leaves much room for interpretation, specifically about what each character is thinking. The most interesting character, Anton Chigurh, has relatively little dialog, but he makes quite an impression. His distinctive moptop haircut, his careful mannerisms, his methodology, and the calcuatled ideology expressed in his actions all speak louder than words. But people's reastions to Chigurh still vary widely. To me he embodies pure evil, but some people have gone so far as to see him as a kind of hero. Having discussed the film in academic settings, I know that some fans of the movie view Chigurh's commitment to his ideology, the ideology that "causes" him to commit murder, as a sort of morality, a nobleness that he is dedicated to. When Chigurh does speak he explains that the people he kills have died because it was their fate to die at that time, he is just a bringer of fate. He would have you believe that he has nothing to do with the decision and he's not responsible for it. In fact he even allows some victims a coin toss to see fi chance will save their lives, and whatever the outcome of the coin flip Chigurh will honor it because he lives by a code. This commitment to his "honor" code allows some people to idealize the murderer. And while I understand that, I will never feel that way, because of who I am and my aesthetic relationship with the film.
The major themes of the film are chance and free will. But how each viewer identifies with those themes affects how they feel about the movie at the end. My response is one of hope really, even though Moss and his wife died they did not give up in the face of unstoppable evil and incalculable injustice. They made their own choices to the end and never allowed Chigurh or fate to control the outcome. For me there is hope in that defiance. Other audience members felt a range of emotions from outrage, sadness, confusion, excitement (mostly boys who liked the actions scenes), indifference, acceptance, and much more. There were as many different reactions to the movie as there were audience members who viewed it, because each person's unique perspective affected them.
'No Country for Old Men' is a complicated movie that defies classification into a single genre. Because of that fact the people who saw it came from many varied backgrounds and classes, and their thoughts towards the film have made it what it is. Cormac McCarthy is never an author to come out and tell people what to think, he doesn't explain his novels, they are what they are. This made his novel an ideal candidate to be made into a movie by the Coen brothers, who use their considerable skill to create art that is thought provoking and relevant. But the final peice of the puzzle in this work of art has been the millions of viewers whose reactions to the film cannot be separated from our understanding of the film. Their individual understandings of the film make it what it is.
Wednesday, May 13, 2009
Sunday, May 10, 2009
Project #5 Graduate School
The University of Alabama College of Arts and Sciences
The Master of Fine Arts program in Theatre Management
Graduate Assistantships
Degree candidates in this program are awarded assistantships that provide a stipend of $1212 per month and full tuition.
Indiana Unversity Bloomington, Department of Theatre
Master of Arts
General Information
The candidate for the Master of Arts degree is expected to be familiar with all areas of study in theatre and drama but, in accordance with the student's aims and prior training, may be allowed to concentrate his/her study largely in one area. Usually the thesis subject or project the candidate selects will determine the area of concentration. In that area the candidate must acquire a mastery sufficient to allow him/her to do independent thinking and to demonstrate the results in a thesis. All graduate students are expected to supplement the knowledge acquired in courses by participating in the various production activities of the department and by independent reading and study.
Requirements and Qualifications:
Ph.D. in Theatre History, Theory and Criticism
The Ph.D. program provides comprehensive training in theatre scholarship with a dual emphasis on theatre and performance history and dramatic theory. Particular strengths of the program include American, English and Classical studies, race and gender studies, semiotics, Asian and post-colonial theory. The plan of study addresses a full range of Western and Non-Western materials from the ancient to the postmodern.
Graduates of the program have gone on to careers as university professors, arts administrators, dramaturgs and critics. Most applicants have theatre degrees and stage experience, but production work is not an integral part of the doctoral program.
The Master of Fine Arts program in Theatre Management
Students gain invaluable academic and objective experience from the two environments. The program allows for a very high degree of personal contact and involvement in the operation of the University Theatre. To maintain that environment, enrollment in the program is limited to a maximum of three students admitted each year.
The Degree Requirements
A total of 60 semester hours is required for the Master of Fine Arts Degree. Students will fill those hours with the following class requirements:
- Marketing the Arts (3 hours)
- Arts Advocacy and Public Policy (3 hours)
- Fundraising & Financial Management for the Arts (3 hours)
- Business & Legal Issues in the American Theatre (3 hours)
- Graduate Theatre Practicum (2 hours)
- Additional courses in Theatre Management/Arts Administration (40 hours)
Students will select 6 hours from the following:
- Organizational Theory and Behavior (3 hours)
- Human Resource Management (3 hours)
- Management Communications (3 hours)
- Small Business Consulting (3 hours)
- Industrial Relations (3 hours)
The Application Procedure
Candidates for admission to the Theatre Management program must meet the admission criteria established by the University of Alabama Graduate School. Candidates for the program must:
| 1. | Applicants must complete a baccalaureate degree in an arts or arts related field with a minimum 3.0 GPA (major/cumulative). |
| 2. | Applicant must submit a COMPLETED APPLICATION (including ALL requested materials) by January 1st for fall admission. Late applications or applications with late material will not be considered. |
| 3. | Applicant must submit a resume, to be mailed to the Program Director, detailing educational and any related professional experience. |
| 4. | Applicant must submit three (3) letters of recommendation directly to the Program Director from three (3) seperate sources. At least one (1) letter must be from a professor in your undergraduate major or in your proposed field of graduate study. Click here for instructions on preparing the letters of recommendation. |
| 5. | The admissions committee will review completed applications (all requested material included) during the second week of January. Because of the number of applications, only select applicants will be asked to interview. Applicants who are asked to interview are encouraged to present a portfolio of related work (i.e. marketing materials, writing samples, budget samples, or other projects to showcase their strenghts.) |
Graduate Assistantships
Degree candidates in this program are awarded assistantships that provide a stipend of $1212 per month and full tuition.
Indiana Unversity Bloomington, Department of Theatre
Master of Arts
General Information
The candidate for the Master of Arts degree is expected to be familiar with all areas of study in theatre and drama but, in accordance with the student's aims and prior training, may be allowed to concentrate his/her study largely in one area. Usually the thesis subject or project the candidate selects will determine the area of concentration. In that area the candidate must acquire a mastery sufficient to allow him/her to do independent thinking and to demonstrate the results in a thesis. All graduate students are expected to supplement the knowledge acquired in courses by participating in the various production activities of the department and by independent reading and study.
Requirements and Qualifications:
- An adequate undergraduate academic background for graduate study in theatre and drama. This should include at least three undergraduate courses in the general area of theatre production: one of these must have been in either Acting or Directing; another in Costuming, Lighting, Scenic Design, or Stagecraft; and at least three courses in the area of Theatre History, Dramatic Literature, and Dramatic Theory.
- An understanding of research methods and a general knowledge of bibliographical resources in theatre and drama.
- A well-balanced program of at least 30 semester hours including:
- T500, Introduction to Graduate Study and Research (1.5 cr.)
- T501, Historiography (1.5 cr.)
- At least 20 semester hours in the department (which may include T500 and five semester hours of credit in T895, MA Thesis). The remaining ten semester hours may be taken in the department or an allied field (or fields) outside the department. (The student must have a grade point average of at least 3.0 in all coursework taken for graduate credit.)
- At least 15 semester hours in courses numbered 500 or above (which may include T500 and T895).
- Language Requirement. The ability to translate scholarly materials on theatre from one foreign language must be demonstrated.
- A minimum of two semesters, or equivalent summer sessions, in residence at Indiana University. (The entire MA program must be completed within a five-year period.)
- The mastery of a specific topic, demonstrated by a thesis and an oral examination upon it and appropriate materials or a Master's Essay.
Ph.D. in Theatre History, Theory and Criticism
The Ph.D. program provides comprehensive training in theatre scholarship with a dual emphasis on theatre and performance history and dramatic theory. Particular strengths of the program include American, English and Classical studies, race and gender studies, semiotics, Asian and post-colonial theory. The plan of study addresses a full range of Western and Non-Western materials from the ancient to the postmodern.
Graduates of the program have gone on to careers as university professors, arts administrators, dramaturgs and critics. Most applicants have theatre degrees and stage experience, but production work is not an integral part of the doctoral program.
Program Information
Coursework within the School consists of three years of study including a sequence of 16 seminars (8 in history/8 in theory), a reading quarter and qualifying and comprehensive examinations. Students also enroll in a minimum of three upper level courses outside the School of Drama and must complete an upper level reading course in a foreign language.
Topics in the history sequence have included Drama in the Industrial Age , Communism and Capitalism , and Sources and Antiquity . From the seminars, students are encouraged to develop original research and to present their work at professional conferences, leading to publication in academic journals.
The fourth year of the program is devoted to writing a dissertation under the guidance of a faculty advisor. Recent doctoral dissertations have explored semiotics, feminism, medieval traditions, American theatre history, contemporary English and German drama, ethnicity and performance theory.
Friday, April 24, 2009
Project #5 TEACHING
SECONDARY LEVEL
Texas Certification Requirements
- You must have a bachelor's degree from an accredited college or university. Texas institutions do not offer a degree in education. Every teacher must have an academic major, as well as teacher training courses. The only exemption from the degree requirement is for individuals seeking Career and Technology certification to teach certain courses, such as welding or computer-aided drafting.
- You must complete teacher training through an approved program. These programs are offered through colleges and universities, school districts, regional service centers, community colleges, and other entities.
- You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.
Alternative Certification Program
The Dallas Independent School District Alternative Certification Program is a district-based alternative certification program.
- Must have a four-year college degree or the equivalent (such as a titulo) from a regionally accredited college or university and supply at least two official transcripts from all colleges and universities where the applicant has received a degree and one official transcript from all colleges and universities attended if no degree was awarded.
- Must have 24 credit hours in content area, or pass the TExES content exam.
- Must successfully complete training.
- Attend follow-up training sessions.
- Obtain passing score on the PPR exam.
- Meet the full teacher appraisal requirements of the state and local district.
- Fulfill all of the requirements of a full time teacher as required by the state, the district, the superintendent, and the principal.
- Recommended for certification by the school building principal, the mentor teacher, and the ACP professional staff.
COMMUNITY COLLEGES
San Francisco Community College District
- Faculty - Fine and Applied Arts - Theatre, Part-Time Pool
- Teach courses selected from Acting/Directing/Dramatic Literature/Make-Up and Costume/Vocal Production/Audition Techniques/Physical Comedy/Improvisation/Introduction to Theatre/Multi-Cultural Theatre/Set and Lighting/Player/Playwrighting.
- Perform duties associated with instructing and assessing student progress.
- Participate in departmental functions, such as committee work, faculty evaluations, staff meetings.
Qualifications
- Demonstrated knowledge, skills, and abilities to work with community college students with diverse academic, socioeconomic, cultural, sexual orientations, disabilities, and ethnic backgrounds (Required).
- Master's Degree in Drama/Theatre Arts/Performance from an accredited. institution.
SENIOR COLLEGES AND UNIVERSITIES
Piedmont College
- Teaching Introduction to Theatre, and Theatre History at undergrad level.
- Candidate responsible for directing one to two plays in a four-production season.
Qualifications
- Must hold terminal degree in theatre, and have experience in directing/production work.
Friday, April 17, 2009
Project #5 The Profession
NON-UNION
FIST IN POCKET THEATRE, NEW YORK, NY
FIST IN POCKET THEATRE, NEW YORK, NY
- Seeking a qualified non AEA stage manager for its upcoming production of the Drama Desk nominated WASHING MACHINE by Jason Stuart directed by Michael Chamberlin.
- Rehearses in NYC June 1-12 and in Durham, NC June 14-17. Runs for 9 performances from June 18 through June 28, 2009 at MANBITES DOG THEATER.
- Seeking- STAGE MANAGER who is conscientious, motivated, a self-starter, resourceful, detail oriented + extremely organized with strong communication/ managerial skills and excellent technical execution. Interviews by appointment only in May in NYC. Paid position.
Summer Theatre of New Canaan Nola Studios, New York, NY
- The Taming of the Shrew, Open Auditions
- Non-Required Principal, LOA contract
- Director: Melody Meitrott Libonati
- Rehearsals begin: June 20, Opens July 18 – August 1. Shows Wed – Sat Evenings, Wed, Sat, Sun Matinee Outdoor open air Canopy Theater.
- Seeking :Katherine: The “shrew”. Sharp-tongued, quick-tempered and delightfully fierce. Bianca: Soft-spoken, sweet and unassuming.
- Prepare a brief Shakespearean monologue and bring headshot and resume.
UNION
Manhattan Theatre Club, NY
- 'Time Stands Still' Equity principal auditions
- Equity principal auditions will be held May 12, 9:30 a.m.-1 p.m. & 2-5:30 p.m. at the AEA Audition Center, 165 W. 46th St. , 2nd fl., NYC. Prepare a brief contemporary monologue. Bring pix & résumés, stapled together. Equity LORT contract
- Prepare brief contemporary monologue and bring resume
- Seeking: Mandy Bloom: 25, event planner, attractive, energetic and carefree, has a difficult time understanding the wartime experience, kind, naive, emotional, giving, enjoys making people happy, always tries to see the good in everyone.
- Donald Margulies, writer; Daniel Sullivan, dir.; Nancy Piccione, casting dir. Rehearsals begin Sept. 17; previews begin Oct. 15. Opens Nov. 3 for 13 weeks at NY City Center Stage 1, NYC.
Cal Performances, University of California-Berkeley, Berkeley, CA
- Currently hiring experienced THEATRE stagehands for temporary work from May 25 through June 13, 2009. We are looking for individuals with theatre experience in one or more of the following areas: rigging, lighting, sound, and multi-media systems in a theatrical environment. Must have working knowledge of technical areas outside of their specialization and the ability to perform general duties in those areas. UPTE union members.
- Duties will include: Assisting in the installation of elements in the various theatrical craft areas. Assisting full crew in one or more of the following tasks: unload/load trucks; set-up/strike staging and/or scenic elements; arrange lighting equipment; arrange sound equipment; perform maintenance functions; practice safe working habits; run production related errands.
- Qualifications: Working knowledge of basic rigging. Ability to coordinate across technical areas to ensure timely realization of event. Familiarity with most aspects of production. Ability to interact positively and in a professional manner with a culturally diverse workforce and artists.
- Mail your resume to: Production Manager, Cal Performances, University of California-Berkeley, 101 Zellerbach Hall #4800 Berkeley, CA 94720-4800
Friday, March 20, 2009
Project #4 Unconventional Theatre
RECREATION
The Other Theatre: A nonprofit alternative theatre in Montreal
Installation Peice, produced by Display Cult and Oboro Gallery
Director: Stacey Christodoulou
Actors: Philippe Ducros and Stacey Christodoulou
Set and Costumes: Eo Sharp
Sound Design: Darren Copeland
1998
This non-speaking, physical peice is set in a moving elevator that has been converted into a recreation room, distorted so that the back wall is actually the floor.
Though standing upright and looking directly at the set, the visual distortion of the room creates the sense that one is peering down through the celing at the people below. This unusual use of space effectively transforms the audience member into a voyeur, spying on the private lives of "normal" neighbors. Environment distortions also serve as a testament to the twisted and dark undercurrent of seemingly banal suburban existences. Completely without spoken dialogue, the actors imitate life to a carefully crafted soundtrack of everyday sounds and contemporary radio, including music and news reports. This peice not only changes the traditional actor-spectator relationship, it also challenges traditional concepts of the use of space in order to hold a mirror up to life, and to elicit a thought-provoking and heightened audience response.
The Sound and the Fury: April Seventh 1928
Elevator Repair Service: An experiemental ensemble theatre in New York
Directly based on William Faulkner's "The Sound and the Fury"
Director: John Collins
Principal Actors: Susie Sokol, Mike Iveson, Annie Macnamara
Costumes: Colleen Werthman Set: David Zinn
Lights: Mark Barton Sound: Matt Tierney
Premiered: November 2007, ongoing performances
"For [Benjy] time isn't sequential but simultaneous. The past and present blur, and people are all the ages they have ever been for as long as he has known them." - Ben Brantly, NY Times
http://elevator.org/press/story.php?show=sound_and_fury&story=times
"Trying to translate this perspective from the page to the stage would seem to be an act of folly and hubris. But the famously venturesome Elevator Repair Service brings a sanity, humility and theatrical ingenuity to their interpretation that, like the novel, illuminates the clarity within apparent chaos." - Ben Brantley, NY Times
Elevator Repair Service: An experiemental ensemble theatre in New York
Directly based on William Faulkner's "The Sound and the Fury"
Director: John Collins
Principal Actors: Susie Sokol, Mike Iveson, Annie Macnamara
Costumes: Colleen Werthman Set: David Zinn
Lights: Mark Barton Sound: Matt Tierney
Premiered: November 2007, ongoing performances
"For [Benjy] time isn't sequential but simultaneous. The past and present blur, and people are all the ages they have ever been for as long as he has known them." - Ben Brantly, NY Times
http://elevator.org/press/story.php?show=sound_and_fury&story=times
"Trying to translate this perspective from the page to the stage would seem to be an act of folly and hubris. But the famously venturesome Elevator Repair Service brings a sanity, humility and theatrical ingenuity to their interpretation that, like the novel, illuminates the clarity within apparent chaos." - Ben Brantley, NY Times
Told by an "idiot" in stream of conciousness that shifts time, place, and character nearly every line, even those of us who have read "The Sound and the Fury" many times often make notes in the margins to help keep us from getting very confused. Creating a production that accurately portrays the events of this section, while maintaining the integrity of it's unique style, all in a manner that audiences can follow, understand, and enjoy, seems to be a daunting challenge at best. However, Elevator Repair Service more than met this challenge in their new production by redefining concepts of theatre. Actors took turns playing the narrator, reading word for word directly from the novel as other performers acted out the scenes. Actors played various roles, shifting characters often, following Benjy's shifting thoughts. The main character of Benjy never speaks, and even his cries and howls come from an unspecified source. But his perception and confusion is evident by the disorienting and ever shifting action around him, in which even styles of acting and genre's of theatre presented change throughout the play. This experimental peice is considered unconvential due to the unique way it was created to represent the blur of time, place, and character.
And the Rain Falls Down
Fevered Sleep: A performance company based in London
A performance peice about water, for children aged 3 to 4
Directed and Designed by David Harradine
Performed by Laura Cubitt and Carl Patrick
Music by David Leahy, Lighting desgined by Jo Manser
2006 tour, and 2007 at the Lyric
"Performed on a watertight stage, with drips, trickles, puddles, a fountain, and a whole lot of rain."
"And the Rain Falls Down is playful, visually striking, and poetic."
http://www.feveredsleep.co.uk/past=projects/and-the-rain-falls-down/
And the Rain Falls Down
Fevered Sleep: A performance company based in London
A performance peice about water, for children aged 3 to 4
Directed and Designed by David Harradine
Performed by Laura Cubitt and Carl Patrick
Music by David Leahy, Lighting desgined by Jo Manser
2006 tour, and 2007 at the Lyric
"Performed on a watertight stage, with drips, trickles, puddles, a fountain, and a whole lot of rain."
"And the Rain Falls Down is playful, visually striking, and poetic."
http://www.feveredsleep.co.uk/past=projects/and-the-rain-falls-down/
The Fevered Sleep company is known for producing site-specific performance art and theatre that is "grounded in ideas, not form". Though far from traditional theatre, they create environments that promote discovery, and furthermore though they produce theatre for all ages, they often create performances specifically for very young audiences. This particular peice is based on common childhood games and experiences, and uses water to playfully ignite, engage, and stimulate the imaginations of children, who are participatory audience members. By breaking the boundaries of theatre they allow their young audience to interact and be a part of the experience.
Narcissus Reflects
Ilotopie: A french street theatre who creates shows on water, based in Port Saint Louis, France
A show on still water with theatre, sculpture, and choreography
Written by Bruon Schnebelin, Raymond Blard, and Didier Girard
Scenography by Ann Williams and Didier Girard
Music by Phil Spectrum, Lights by Frederik Peslier
Ensemble cast of actors on the water
Available to tour
"Its at night, upright on the water, that the eight mobile and floating actors set about to rouse the ghosts of a blinding social narcissim."
Ilotopie: A french street theatre who creates shows on water, based in Port Saint Louis, France
A show on still water with theatre, sculpture, and choreography
Written by Bruon Schnebelin, Raymond Blard, and Didier Girard
Scenography by Ann Williams and Didier Girard
Music by Phil Spectrum, Lights by Frederik Peslier
Ensemble cast of actors on the water
Available to tour
"Its at night, upright on the water, that the eight mobile and floating actors set about to rouse the ghosts of a blinding social narcissim."
Walking on water is not exactly something you see everyday. However, this performance company produces large scale theatrical shows on rivers, lakes, canals, ponds, and ports all over the globe. Narcissus Reflects is designed to be seen in a variety of aquatic venues by aproximately 1500 spectators at a time, a far larger audience than in most traditional theatre settings. Not only do they work in an entirely different space and setting, but they integrate traditional acting with choreography and visual effects to create an entirely unique experience. A man smashes his reflection with a sledgehammer, a woman begins to sink as she reaches for the sky, and actors interpret daily routines as they are surrounded by spectacular displays which are reflected brilliantly in the water below.
Lisa D tells stories in the language of fashion.
http://www.lisad.com/vita_e.html
They say clothes make the man. In the theatre costuming is just as important to the production as script, acting, lights, sound, and direction. Not just a supporting character, costumes and the designers who create them are invaluable to the theatre. But in this instance, the costumes ARE the show. Though it is created around Lisa D's designs, this production is far from a fashion show, it is true theatre, in which the story is told through the costumes. According to her website, Elisabeth Prantner studied everything except fashion before she became a designer in '84, and since then has been producing performance shows in which the clothes speak for themselves in a world of drama.
SPRINGERINNEN
Filmtheater Hackesche Hofe, Berlin
Fashion Performance
Designed By
Lisa D (Elisabeth Prantner)
Austrian Fashion Designer Based in Berlin
1999
Filmtheater Hackesche Hofe, Berlin
Fashion Performance
Designed By
Lisa D (Elisabeth Prantner)
Austrian Fashion Designer Based in Berlin
1999
Lisa D tells stories in the language of fashion.
http://www.lisad.com/vita_e.html
"Fashion is a second skin that constitutes an interface between myself and my environment It is a stage where the drama of a society with its hopes and anxieties, its projections and repressions gets staged in its most up-dated form and in which I seek to prevail as a protagonist."
They say clothes make the man. In the theatre costuming is just as important to the production as script, acting, lights, sound, and direction. Not just a supporting character, costumes and the designers who create them are invaluable to the theatre. But in this instance, the costumes ARE the show. Though it is created around Lisa D's designs, this production is far from a fashion show, it is true theatre, in which the story is told through the costumes. According to her website, Elisabeth Prantner studied everything except fashion before she became a designer in '84, and since then has been producing performance shows in which the clothes speak for themselves in a world of drama.
Sunday, March 8, 2009
Project #3 Too Hot to Handle
1. NYC Today
http://www.nydailynews.com/entertainment/arts/2009/02/21/2009-02-21_vietnam_vets_rally_against_jane_fonda_wh-1.html
It is not uncommon today to hear of protests having to do with the war in Iraq, either for or against it. The war is a hot button with a large population of our country, and naturally it has caused its share of controversy in the entertainment industry including Broadway. Plays and shows with anti-war sentiments have sparked protests from war supporters, and vice versa. But what is unusual is for their to be a controversy today over a war that ended 37 years ago. However, 20 Vietnam veterans have protested "33 Variations" because of their new cast member Jane Fonda, and a controversy from decades ago. Though the protesters did not significantly reduce audience attendance, they did create a stir, proving that political issues even from the past are still sensitive subjects to many Americans.
2. Naked Broadway
http://proquest.umi.com.unx.1shsu.edu;2048/phdweb?index=5&did=1058566692&SrchMode=2&sid=4&Fmt=10&VInst=PROD&VType=PQD&RQT=309&VName=HNP&TS=1236553831&clientId=96
"Naked Boys Singing" has run successfully Off Broadway for years without creating much controversy, but for the 2004 Republican Convention the show was deemed unsuitable for delegates. The city's tourist bureau had offered discounts and coupons to visitors for various attractions and shows, and at least a dozen individuals purhcased tickets for the show through the site. However, the Republican Pary's committee, upon reviewing the list, asked that "Naked Boys Singing" be removed, as it was not the type of entertainment that would best suit their audience. Though the incident did not create a large controversy, it is upsetting for a political organization to decide what is and what is not acceptable art for adult individuals to view.
3. Gay Broadway
http://www.playbill.com/news/article/114892.html
The About Face Theatre was in for a surprise when the author of their show, "The Little Dog Laughed" viewed a performance of his work at their theatre, and confronted them about an alteration to his script. His stage directions called for complete nudity in a scene, but the director changed it instead to having the two men perform it in their underwear. The director did write in advance for permission for the change, but when permission was denied he went ahead with his decision anyway. Then after being confronted by the playwright and promising to change it in subsequent performances, failed to keep his word. Eventually the artistic director wrote a letter of apology, addressing the issue. The director maintains that he did not understand that the stage directions specifically and necessarilly called for nudity, which raises the questions are stage directions legally binding, and how much of the author's intent is a director legally required to follow?
4. Racist Broadway
http://www.forward.com/articles/10488/
The play is set in Poland, in a time when antisemitism is rampant. It is an absurdist peice, but bears many truths about the treatment of jewish people. However, the plays caused qutie a controversy when the Polish embassy accused the production of inciting hatred toward Polish people by insinuating that Poland was antisemetic. The situation grew when the production company accused the New York Times of refusing to send a reviewer to the play, however the New York Times denies refusing. This situation is very interesting because when we think of racism we don't always think about ethnic groups such as those from Europe, but even in the 21 century in New York great sensitivities exist between groups, and especially when relating to the past. It may seem like lifetimes ago, and for most of it the incidents in question happened before our lifetime, but time has not decreased the feelings of pain and hostility between these groups, and as artist we must sensitive to that and try to understand how best to deal with these sensitivities.
5. Raided or Closed
http://query.nytimes.com/mem/archive-free/pdf?res=9D0CE6D91130E333A25752C0A9679D946497D6CF
In November of 1905 at the Garrick Theatre "Mrs. Warren's Profession" was presented to enthusiastic crowds, however, upon being viewd by the police inspector the show ws closed down, and arrest warrants were issued for all of the cast as well as the owner of the theatre and the director. All members of the production cooperated fully with the investigation,a nd complied with all demands. The police inspector ws shocked at the "immorality" of the characters i the play, and even more shocked that the audience members were NOT shocked by this. Though no one else had complained, the play was shut down for good. This is interesting because it was a play by SHaw, who is part of our theatrical canon today, ahrdly controversial, and because the production was shut down based on one man's opinion.
6. Arrested
http://www.findingdulcinea.com/features/happy-birthday/2008/Aug/Mae-West.html
Mae West starrred in her first role on Broadway in the play that she also wrote and directed called "Sex". Despite being viewed by over 325,000 people, including police officers and their wives, the theatre was eventually raided and all cast members, including West, were arrrested on charges of obscenity. West was convicted and sentenced to 10 days in jail, but was let out 2 days early for good behavior, skyrocketing her career nationally. Proving that sex always sells, even if it is "immoral".
7. NEA 4
http://www.people.com/people/archive/article/0,,20118410,00.html
In 1990 Karen Finely was one of 4 artists to have their NEA grants revoked by John Frohnmayer, on the basis of subject matter. Finely's performance art, while sexually graphic at times, was a cry of outrage against pornography and sexual violence. Audiences who attended her shows were profoundly affected by her raw and powerful performances. Though a court overturned the NEA decision and returned Finely's grant money in 1993, the implications of the case will affect artists for generations to come. It is a rallying point for artists who refuse to compromise their work or allow the censorship by those who disagree with them.
8. Regional Theatre
http://www.backstage.com/bso/news_reviews/stage/article_display.isp?ynu_content_id=1002725823
This case is a little bit different than the rest of the controversies in this project. Instead of their performance inciting a protest, this company used theatre to support a protest already in progress. But I"ve included it here, and I hope it will be accepted, because it's an incidence of theatre being involved in a controversial situation. A local community garden, one of the largest of its kind, that had been used by lower income families for generations was being closed and destroyed, drawing hundreds of people to protest. ON June 14, over 50 of those protesters were forcibly removed and arrested. The Cornerstone Theatre Company then stepped in and began performing "The Grapes of Wrath" on site in support of the garden and the protesters. It is an example of how valuable theatre can be to a community, and of hte powerful affect it can have in the midst of controversy.
9. College/University
http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/1027388879999_22798079
The play "Corpus Christi" by Tony award winning Terrence McNally opened to a sold out audience at the INdiana University's Fort Wayne Campus. However some people came to see more than the play, one man stating he had come for "the human theatre". This play centered around a gay christ-like figure sparked protests of outrage. Protesters held signs reading "Turn or Burn" and "Jesus loves, but hates sin!" There were anti-christian protesters shouting as well. Its in no way surprising that the idea of a gay-Christ upset many traditionally religious individuals, however shouting threats at others is hardly an effective way of spreading God's love.
10. High School
http://www.csmonitor.com/2007/0612/p20s01-woam.html?page=3
At Wilton High School students in an advanced theatre class created their own one act play, titled "Voices in Conflict", direclty based on the interviews, letters, and blogs of real soldiers serving in Iraq. Though their play began as an ordinary class project, students became very involved in and connected to the piece as they did extensive research and talked to soldiers. However the principal of their high shcool made the decision to cancel the show after being contacted by a parent. Principal Timothy Canty claimed that the piece was "unbalanced" and "sensationalized", and stated taht it could offend people who hafe relatives in Iraq. While the students were disappointed at not getting to perform the piece they believed in and had worked so hard on, the cancelation created a national controversy by those concerned that the play was being censored for its critique of the war. Since the cancellation, several professional theatres in New York have hosted hte student's production, including The Public Theatre in Manhattan, and a letter of petition signed by prominent playwrights has been sent to the school. I tend to think the fact that the play was written by students probably has more to do with the controversy than its subject matter, as pieces pertaining to the war are fairly common,a nd the bigger issue is the censorship of young artists.
- Vietnam Veterans protest Broadway's "33 Variations" over casting of Jane Fonda
- Still angry over anti-war controversy after 37 years.
- "33 Variations" currently playing at the Eugene O'Neill Theatre
http://www.nydailynews.com/entertainment/arts/2009/02/21/2009-02-21_vietnam_vets_rally_against_jane_fonda_wh-1.html
It is not uncommon today to hear of protests having to do with the war in Iraq, either for or against it. The war is a hot button with a large population of our country, and naturally it has caused its share of controversy in the entertainment industry including Broadway. Plays and shows with anti-war sentiments have sparked protests from war supporters, and vice versa. But what is unusual is for their to be a controversy today over a war that ended 37 years ago. However, 20 Vietnam veterans have protested "33 Variations" because of their new cast member Jane Fonda, and a controversy from decades ago. Though the protesters did not significantly reduce audience attendance, they did create a stir, proving that political issues even from the past are still sensitive subjects to many Americans.
2. Naked Broadway
- Republican National Committee finds "Naked Boys Singing" unsuitable for visiting delegates, show removed from tourist bureau website.
- August 2004, Off Broadway
http://proquest.umi.com.unx.1shsu.edu;2048/phdweb?index=5&did=1058566692&SrchMode=2&sid=4&Fmt=10&VInst=PROD&VType=PQD&RQT=309&VName=HNP&TS=1236553831&clientId=96
"Naked Boys Singing" has run successfully Off Broadway for years without creating much controversy, but for the 2004 Republican Convention the show was deemed unsuitable for delegates. The city's tourist bureau had offered discounts and coupons to visitors for various attractions and shows, and at least a dozen individuals purhcased tickets for the show through the site. However, the Republican Pary's committee, upon reviewing the list, asked that "Naked Boys Singing" be removed, as it was not the type of entertainment that would best suit their audience. Though the incident did not create a large controversy, it is upsetting for a political organization to decide what is and what is not acceptable art for adult individuals to view.
3. Gay Broadway
- Chicago's About Face Theatre in hot water with playwright for cutting gay nudity scene in Douglas Carter Beane's "The Little Dog Laughed".
- February 2008
- Artistic Director Eric Rosen sends letter of apology at threat of closure
http://www.playbill.com/news/article/114892.html
The About Face Theatre was in for a surprise when the author of their show, "The Little Dog Laughed" viewed a performance of his work at their theatre, and confronted them about an alteration to his script. His stage directions called for complete nudity in a scene, but the director changed it instead to having the two men perform it in their underwear. The director did write in advance for permission for the change, but when permission was denied he went ahead with his decision anyway. Then after being confronted by the playwright and promising to change it in subsequent performances, failed to keep his word. Eventually the artistic director wrote a letter of apology, addressing the issue. The director maintains that he did not understand that the stage directions specifically and necessarilly called for nudity, which raises the questions are stage directions legally binding, and how much of the author's intent is a director legally required to follow?
4. Racist Broadway
- Jewish play creates controversy between ethinic groups, feelings of racism and hatred.
- "Last Jew in Europe" written by Tuvia Tenebom
- Performed at the Traid Jewish Theatre of New York, Spring 2007
http://www.forward.com/articles/10488/
The play is set in Poland, in a time when antisemitism is rampant. It is an absurdist peice, but bears many truths about the treatment of jewish people. However, the plays caused qutie a controversy when the Polish embassy accused the production of inciting hatred toward Polish people by insinuating that Poland was antisemetic. The situation grew when the production company accused the New York Times of refusing to send a reviewer to the play, however the New York Times denies refusing. This situation is very interesting because when we think of racism we don't always think about ethnic groups such as those from Europe, but even in the 21 century in New York great sensitivities exist between groups, and especially when relating to the past. It may seem like lifetimes ago, and for most of it the incidents in question happened before our lifetime, but time has not decreased the feelings of pain and hostility between these groups, and as artist we must sensitive to that and try to understand how best to deal with these sensitivities.
5. Raided or Closed
- George Bernard Shaw's play, "Mrs. Warren's Profession" shut down.
- Theatre Manager arrested, warrants out for players.
- Garrick Theatre, New York, November 1, 1905.
http://query.nytimes.com/mem/archive-free/pdf?res=9D0CE6D91130E333A25752C0A9679D946497D6CF
In November of 1905 at the Garrick Theatre "Mrs. Warren's Profession" was presented to enthusiastic crowds, however, upon being viewd by the police inspector the show ws closed down, and arrest warrants were issued for all of the cast as well as the owner of the theatre and the director. All members of the production cooperated fully with the investigation,a nd complied with all demands. The police inspector ws shocked at the "immorality" of the characters i the play, and even more shocked that the audience members were NOT shocked by this. Though no one else had complained, the play was shut down for good. This is interesting because it was a play by SHaw, who is part of our theatrical canon today, ahrdly controversial, and because the production was shut down based on one man's opinion.
6. Arrested
- Mae West an cast are arrested for play entitled "Sex"
- 1926, Broadway New York
http://www.findingdulcinea.com/features/happy-birthday/2008/Aug/Mae-West.html
Mae West starrred in her first role on Broadway in the play that she also wrote and directed called "Sex". Despite being viewed by over 325,000 people, including police officers and their wives, the theatre was eventually raided and all cast members, including West, were arrrested on charges of obscenity. West was convicted and sentenced to 10 days in jail, but was let out 2 days early for good behavior, skyrocketing her career nationally. Proving that sex always sells, even if it is "immoral".
7. NEA 4
- Karen Finely, performance artist.
- "We Keep Our Victims Ready"
- Funding from the National Endowment for the Arts was vetoed in June 1990.
- Court Case won in 1993, awarded grant money.
http://www.people.com/people/archive/article/0,,20118410,00.html
In 1990 Karen Finely was one of 4 artists to have their NEA grants revoked by John Frohnmayer, on the basis of subject matter. Finely's performance art, while sexually graphic at times, was a cry of outrage against pornography and sexual violence. Audiences who attended her shows were profoundly affected by her raw and powerful performances. Though a court overturned the NEA decision and returned Finely's grant money in 1993, the implications of the case will affect artists for generations to come. It is a rallying point for artists who refuse to compromise their work or allow the censorship by those who disagree with them.
8. Regional Theatre
- LA's Cornerstone Theatre Company performed excerpts of "The Grapes of Wrath" to support and help local protesters who were arrested.
- June 21, 2006, LA County
- Praised by some for bringing awareness to a community cause.
http://www.backstage.com/bso/news_reviews/stage/article_display.isp?ynu_content_id=1002725823
This case is a little bit different than the rest of the controversies in this project. Instead of their performance inciting a protest, this company used theatre to support a protest already in progress. But I"ve included it here, and I hope it will be accepted, because it's an incidence of theatre being involved in a controversial situation. A local community garden, one of the largest of its kind, that had been used by lower income families for generations was being closed and destroyed, drawing hundreds of people to protest. ON June 14, over 50 of those protesters were forcibly removed and arrested. The Cornerstone Theatre Company then stepped in and began performing "The Grapes of Wrath" on site in support of the garden and the protesters. It is an example of how valuable theatre can be to a community, and of hte powerful affect it can have in the midst of controversy.
9. College/University
- Indiana University production of "Corpus Chrisit" sparks vicious protest, as well as sold out crowds.
- Fort Wayne, Indiana
- August 2001
http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/1027388879999_22798079
The play "Corpus Christi" by Tony award winning Terrence McNally opened to a sold out audience at the INdiana University's Fort Wayne Campus. However some people came to see more than the play, one man stating he had come for "the human theatre". This play centered around a gay christ-like figure sparked protests of outrage. Protesters held signs reading "Turn or Burn" and "Jesus loves, but hates sin!" There were anti-christian protesters shouting as well. Its in no way surprising that the idea of a gay-Christ upset many traditionally religious individuals, however shouting threats at others is hardly an effective way of spreading God's love.
10. High School
- Cancellation of student written play sparks national controversy
- Wilton High School Theatre Department, Wilton Connecticut
- Spring Semester - June 2007
http://www.csmonitor.com/2007/0612/p20s01-woam.html?page=3
At Wilton High School students in an advanced theatre class created their own one act play, titled "Voices in Conflict", direclty based on the interviews, letters, and blogs of real soldiers serving in Iraq. Though their play began as an ordinary class project, students became very involved in and connected to the piece as they did extensive research and talked to soldiers. However the principal of their high shcool made the decision to cancel the show after being contacted by a parent. Principal Timothy Canty claimed that the piece was "unbalanced" and "sensationalized", and stated taht it could offend people who hafe relatives in Iraq. While the students were disappointed at not getting to perform the piece they believed in and had worked so hard on, the cancelation created a national controversy by those concerned that the play was being censored for its critique of the war. Since the cancellation, several professional theatres in New York have hosted hte student's production, including The Public Theatre in Manhattan, and a letter of petition signed by prominent playwrights has been sent to the school. I tend to think the fact that the play was written by students probably has more to do with the controversy than its subject matter, as pieces pertaining to the war are fairly common,a nd the bigger issue is the censorship of young artists.
Sunday, February 1, 2009
Project #1 Professional
Indiana Repertory Theatre
To Kill a Mockingbird
by Harper Lee
Adapted by Christopher Sergel
"The trial and the repercussions for the Finch family present a gripping drama, full of tensions and character revelations."
http://www.edinburghguide.com/aande/theatre/reviews_05/t/to_kill_a_mocking_bird_pitlochry.shtml
"...this Liberal morality-tale plays out its inevitable miscarriage of justice."
http://www.theatermirror.com/mock.htm
Crime and Punishment
by Fyodor Dostoevsky
Adapted by Marilyn Campbell and Curt Columbus
"...this is ''Crime and Punishment'' as pure Christian morality tale."
http://theater2.nytimes.com/mem/theater/treview.html?res=9B0DE5D6153DF93AA35752C0A961948260
"Writers' Theater co-founder Marilyn Campbell and Chicago writer/director Curt Columbus have condensed the complex 1866 masterpiece into a 90-minute psychological drama..."
http://www.encyclopedia.com/doc/1N1-110EB32A05DC84D0.html
The Ladies Man
by Georges Feydeau
Adapted from Taillieur Pour Dames by Charles Morey
"Well, this is a farce so the plot is both crucial and of no consequence at all..."
http://myvanwy.tripod.com/companies/shakesco/ladiesman.html
"The Ladies Man features razor-fine, saucy language and whip-smart dialogue that make this comedy zing."
http://www.shakespeare.org/blog/2008/05/the-ladies-man-opens-saturday/comment-page-1/
Crowns
by Regina Taylor
"A musical based on a coffee table book of quotes and black and white photographs..."
http://www.goldfishpublishers.com/Crowns_ATC.html
"Ms. Taylor has thrown in as many genres as she could get her hands on...a satire of stereotypes.."
http://query.nytimes.com/gst/fullpage.html?res=9C03E5DE1639F93AA2575AC0A9629C8B63&sec=&spon=&pagewanted=2
Rabbit Hole
by David Lindsay-Abaire
"...the drama also marks a significant departure for Mr. Lindsay-Abaire..."
http://theater2.nytimes.com/2006/02/03/theater/reviews/03rabb.html
"David Lindsay-Abaire’s comic drama, which won the Pulitzer Prize in 2007..."
http://blogs.orlandosentinel.com/entertainment_stage_theat/2008/04/theater-revie-2.html
Interpreting William
by James Still
World premier, May 12 2009
No reviews currently available
Sherlock Holmes: The Final Adventure
by Sir Arthur Conan Doyle
Adapted by Steven Dietz
"IRT has not been especially well-known for its mysteries in recent years, but if future productions equal this one, that reputation may change."
http://www.indy.com/posts/theatre-review-irt-s-sherlock-holmes-the-final-adventure
"...the episodic play keeps moving briskly..."
http://www.backstage.com/bso/news_reviews/west/article_display.jsp?vnu_content_id=1002275971
Macbeth
by William Shakespeare
"And while I felt some trepidation about watching a mostly amateur cast take on Shakespearean tragedy.."
http://www.news-press.com/apps/pbcs.dll/article?AID=2009901100335
..."Shakespeare’s greats, a drama that, at once, contains politics, poetry and paganism, awesome insight and sustained irony.."
http://leisureblogs.chicagotribune.com/the_theater_loop/2009/01/chicago-shakespeare-stages-a-gutsy-macbeth-with-hints-of-chicago.html
A Christmas Carol
by Charles Dickens
Adapted by Tom Haas
"Set on a minimalist stage covered in snow, this adapation features the characters narrating their own actions to the audience and intersperses carols and dance along with the visits of the ghosts."
http://en.wikipedia.org/wiki/List_of_A_Christmas_Carol_adaptations
"...[an] understated social commentary on money, happiness, and family."
http://www.examiner.com/x-1471-Boston-Theater-Examiner~y2008m12d16-A-Christmas-Carol-at-the-New-Rep-theater-review
This Wonderful Life
by Steve Murray
Conceived by Mark Setlock
"This Wonderful Life is a one-man presentation of the repeatedly enjoyable 1946 Frank Capra film, It's a Wonderful Life."
http://www.talkinbroadway.com/regional/pitt/p177.html
"...somewhere between adaptation, homage, and parody..."
http://www.pcs.org/_images/press_releases/ThisWonderfulLife06PR.pdf
To Kill a Mockingbird
by Harper Lee
Adapted by Christopher Sergel
"The trial and the repercussions for the Finch family present a gripping drama, full of tensions and character revelations."
http://www.edinburghguide.com/aande/theatre/reviews_05/t/to_kill_a_mocking_bird_pitlochry.shtml
"...this Liberal morality-tale plays out its inevitable miscarriage of justice."
http://www.theatermirror.com/mock.htm
Crime and Punishment
by Fyodor Dostoevsky
Adapted by Marilyn Campbell and Curt Columbus
"...this is ''Crime and Punishment'' as pure Christian morality tale."
http://theater2.nytimes.com/mem/theater/treview.html?res=9B0DE5D6153DF93AA35752C0A961948260
"Writers' Theater co-founder Marilyn Campbell and Chicago writer/director Curt Columbus have condensed the complex 1866 masterpiece into a 90-minute psychological drama..."
http://www.encyclopedia.com/doc/1N1-110EB32A05DC84D0.html
The Ladies Man
by Georges Feydeau
Adapted from Taillieur Pour Dames by Charles Morey
"Well, this is a farce so the plot is both crucial and of no consequence at all..."
http://myvanwy.tripod.com/companies/shakesco/ladiesman.html
"The Ladies Man features razor-fine, saucy language and whip-smart dialogue that make this comedy zing."
http://www.shakespeare.org/blog/2008/05/the-ladies-man-opens-saturday/comment-page-1/
Crowns
by Regina Taylor
"A musical based on a coffee table book of quotes and black and white photographs..."
http://www.goldfishpublishers.com/Crowns_ATC.html
"Ms. Taylor has thrown in as many genres as she could get her hands on...a satire of stereotypes.."
http://query.nytimes.com/gst/fullpage.html?res=9C03E5DE1639F93AA2575AC0A9629C8B63&sec=&spon=&pagewanted=2
Rabbit Hole
by David Lindsay-Abaire
"...the drama also marks a significant departure for Mr. Lindsay-Abaire..."
http://theater2.nytimes.com/2006/02/03/theater/reviews/03rabb.html
"David Lindsay-Abaire’s comic drama, which won the Pulitzer Prize in 2007..."
http://blogs.orlandosentinel.com/entertainment_stage_theat/2008/04/theater-revie-2.html
Interpreting William
by James Still
World premier, May 12 2009
No reviews currently available
Sherlock Holmes: The Final Adventure
by Sir Arthur Conan Doyle
Adapted by Steven Dietz
"IRT has not been especially well-known for its mysteries in recent years, but if future productions equal this one, that reputation may change."
http://www.indy.com/posts/theatre-review-irt-s-sherlock-holmes-the-final-adventure
"...the episodic play keeps moving briskly..."
http://www.backstage.com/bso/news_reviews/west/article_display.jsp?vnu_content_id=1002275971
Macbeth
by William Shakespeare
"And while I felt some trepidation about watching a mostly amateur cast take on Shakespearean tragedy.."
http://www.news-press.com/apps/pbcs.dll/article?AID=2009901100335
..."Shakespeare’s greats, a drama that, at once, contains politics, poetry and paganism, awesome insight and sustained irony.."
http://leisureblogs.chicagotribune.com/the_theater_loop/2009/01/chicago-shakespeare-stages-a-gutsy-macbeth-with-hints-of-chicago.html
A Christmas Carol
by Charles Dickens
Adapted by Tom Haas
"Set on a minimalist stage covered in snow, this adapation features the characters narrating their own actions to the audience and intersperses carols and dance along with the visits of the ghosts."
http://en.wikipedia.org/wiki/List_of_A_Christmas_Carol_adaptations
"...[an] understated social commentary on money, happiness, and family."
http://www.examiner.com/x-1471-Boston-Theater-Examiner~y2008m12d16-A-Christmas-Carol-at-the-New-Rep-theater-review
This Wonderful Life
by Steve Murray
Conceived by Mark Setlock
"This Wonderful Life is a one-man presentation of the repeatedly enjoyable 1946 Frank Capra film, It's a Wonderful Life."
http://www.talkinbroadway.com/regional/pitt/p177.html
"...somewhere between adaptation, homage, and parody..."
http://www.pcs.org/_images/press_releases/ThisWonderfulLife06PR.pdf
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