bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ontological-Hysteric Manifesto II
Authors: Foreman Richard 
Published: April 2006

One always begins with the desire to write a certain kind of sentence (to put on stage a certain “kind” of gesture. That “kind” then turns out to be about that-which-becomes-your-content).The key, however, is in this sentence (gesture) cell. Most people don't see the cell, are perceptually unable to see small enough (ephemeralization). Because their LIFE training is that to “see small” means to enter the realm where contradictions are seen to be at the root of reality—and that disturbing realization they would avoid at all costs.The desire to write a certain kind of sentence (gesture) is akin to the desire to live—be—have the world be in a certain kind of way. (Art as a solution to what is—Musil. Through style, through smallest possible units. Bricks determine one style of architecture, stone another, etc.)
‘Let It Begin Here!’
Authors: Canaan Christopher 
Published: April 2006

On Saturday morning, April 19, 1975, two skirmishes between American Colonials and British Regulars were reenacted at Lexington and Concord, Massachusetts, marking the beginning of the nation's Bicentennial celebration.The initial commemorative event was the confrontation between British troops and American Minutemen at, the Town Green in Lexington. Spectators began lining the Green at about 3:00 a.m. By 5:30 a.m. there were more than 30,000 people standing six to seven deep around the square. Hundreds watched from rooftops, porches, and trees. Shortly before dawn, three buses carried the 200 men who would portray the British troops to the east end of the town. The spectators met the troops with cheers and good nature d heckling.At 5:40 the canon from nearby Buckman's Tavern fired, and the Lexington Militia ran onto the Green. The spectators responded with a loud cheer as the men emerged from their rallying point inside the tavern.
Brecht's Mother Courage
Authors: Ryan Paul Ryder 
Published: April 2006

Why Mother Courage and why still the Manheim translation over the Bentley? “Because Brecht was dead and Manheim was in Paris”—Richard Schechner, tongue in cheek, coming off Tooth.There were other reasons, too, why The Performance Group elected to stage Brecht's Mother Courage, which opened in late February, 1975, at the Performing Garage on Wooster Street in New York City after almost a year in rehearsal. The women in the group — Elizabeth Le Compte, Joan Macintosh, and Leeny Sack — had called for a play with large roles for women since the group's last production, Sam Shepard's The Tooth of Crime, had revolved around male rock ‘n’ roll recording artists. So, after Richard Schechner, a co-director of the group, brought the play by the garage and there was a reading in which members simultaneously used three translations — Manheim, Bentley, and Hays — because there were not enough copies of one version available, the group unaminously settled on Mother Courage and the Manheim translation, which they felt was the most “modern.”
On Political Theatre
Authors: Kirby Michael 
Published: April 2006

Is all theatre political? Some people claim that it is. To some extent, this view is based upon a misunderstanding of the word “political.” Webster defines “political” as:1.of or concerned with government, the state, or politics.2.having a definite governmental organization.3.engaged in or taking sides in politics; as political parties.4.of or characteristic of political parties or politicians: as political pressure.These definitions may help us to understand the nature of political theatre, but they do not apply to all theatrical activity.Some of the people who claim that all theatre is political seem to confuse “political,” “social,” and “economic.” Of course, all theatre exists in a certain socio-economic context. By definition, it involves an audience; it is not a solitary activity. But this does not mean that it necessarily is concerned with government or that it must take sides in politics. The psychological elements and interpersonal relationships of, say, A Streetcar Named Desire may be magnified into social statements.
A Chamber Dance Concert
Authors: Forti Simone 
Published: April 2006

Two women in white. The feet of one, red. The feet of the other, green. They begin to circle counter or clockwise and keeping opposite each other establish a circle whose radius is the span of the outstretched arm of either, reached toward the outstretched arm of the other, hands meeting palm to palm. Their stride is smooth and medium fast. Again and again their arms are lifted to check the measure, and dropped to let the elements settle into a constant dynamic equilibrium, as their bodies incline slightly toward the apex.Consider the seven circles of the Star of David; one in the center surrounded by six others, all of the same size. Superimpose on these two more, forming a figure eight whose halves join on the center of the central of the seven circles.After a time of circling together, one of the women steps along the radius, straight to the circle's center, which she then takes for a point along the circumference of another circle.
Loïe Fuller
Authors: Sommer Sally R. 
Published: April 2006

Loïe Fuller's contributions to the theory and practice of theatre and dance are numerous, yet few dancers and even fewer theatre people know of her work. Most dance and theatre historians, if they mention her at all, only devote a cursory paragraph to her achievements. As is often the case, repeated omission is gradually solidified into misinformation. Other people have often been credited with her innovations.Between 1865 and 1891, Fuller had a rather successful career as actress, manager, and sometime. playwright. After 1892, she influenced (and was influenced by) Art Nouveau, Symbolism, and Impressionism. She was written about, painted, and sculpted by most of the important artists in Paris at the turn of the century. A theatre was even built for her. And she set up and managed the initial European tours of Isadora Duncan, Maude Allen, and two Japanese acting companies. All the while, she kept on writing plays.
Take Off: An Activity in Genova
Authors: Kaprow Allan 
Published: April 2006

Take off is at once a parody and a series of collusions masked as deceptions (or put-ons). The central issue is trust in the truthfulness and loyalty of a confederate. The confederate is trusted to carry a desired impression to another person. But she or he is also the confederate of that other person and may not be loyal. The possibility of secrecy and intimacy exist on all sides. And betrayal.But since all three parties become at some point go-betweens (or confidence women/men), each one is able to take certain advantage of the others by manipulating the truth. The take off lies in the fact that the whole Activity is a grand collusion in which each of the the participants knows the scheme from the start, and knows that the others know.
German Expressionist Acting
Authors: Gordon Mel 
Published: April 2006

The New Man possesses even greater, more direct feelings. He stands there grasping his heart. And from the surge welling up in his blood, he is in an absolutely impulsive state. It is as if he would wear his heart painted onto his chest. Now he is not an image anymore—he is actually MAN. Completely entangled in the Cosmos, but with cosmic perceptions. … Not counterfeit thoughts, but his emotions alone lead him and guide him. Only then can he advance and approach absolute Rapture, where the tremendous ecstasies soar from his soul…. Yet, these New Men are in no way crazy or foolish. Their thought-processes work according to a different nature. They are untouched. They reflect upon nothing. They live not in circles nor through echos. They experiencedirectly. And that is the greatest secret of their artifice: it is without psychology.Kasimir Edschmid, On Poetic Expressionism, 1917
ProVisional Theatre's XA: A Vietnam Primer
Authors: Zuckerman Stephen 
Published: April 2006

The ProVisional Theatre from Los Angeles performed two of the three works in their repertoire at the Experimental Theatre Festival in Ann Arbor. In addition, they gave a workshop, conducted by Steve Kent, a non-performing director of the group. It consisted for the most part of animated body work and theatre games. Exercises from Viola Spolin's canon as well as sound and movement exercises developed by Joseph Chaikin and The Open Theater were demonstrated, as well as improvisational games of their own. It was obvious that, in addition to the political aspect of The ProVisional Theatre's work, there was a desire to experiment with developing the actor's technique.The ProVisional Theatre is an eleven-member group and, although they consider themselves highly political, they refuse to identify themselves with any specific philosophy.
Perlini's Othello
Authors: Davy Kate 
Published: April 2006

Memé Perlini is the producer and artistic director of “La Maschera” of Rome. His fourth spectacle, Otello (Othello) billed as “after Shakespeare,” was presented in May, 1975, at the World Theatre Festival in Nancy, France. The piece was originally created at the Venice Biennale where it was performed in a sixteenth century church for 2,300 spectators in November, 1974.In Nancy, Otello was presented in a large gymnasium-like exhibition hall. The audience seating section was placed at one end of the rectangular space and consisted of tiered bleachers with a seating capacity of approximately 2,000 people. The spectators entered the building from behind the bleachers and immediately encountered hundreds of white paper plates spread neatly across the floor. Walking on the plates, around the bleachers, the spectators confronted the space. Creating a polka-dot pattern, the plates covered the entire floor area except that used for performing.
Sakonnet Point
Authors: Aronson Arnold 
Published: April 2006

I knew I wanted to do something, and I wanted to do it with a child and with women. I like children and I like women.Spalding GraySakonnet Point, an hour-long piece “composed and directed” by Spalding Gray and Elizabeth LeCompte, was presented at the Performing Garage in New York City in early June, 1975. It formed the third part of an evening of three plays presented by members of The Performance Group. (Later in the summer it was presented alone in a converted church at Westerly, Rhode Island, and again in October at the Garage.) Sakonnet Point (the title is taken from the name of a town in Rhode Island where Gray spent his summers as a child) is a very personal, contemplative piece, attempting to evoke dreamlike moods through images presented in soft, dim lighting.
Psychological Release: Comic Ritual Dramas in Sri Lanka
Authors: Ranjini  , Obeyesekere Gananath 
Published: April 2006

It is almost a truism to say that religious rituals are often dramatic in form: individuals take on roles different from their everyday ones and relate to each other (interact) in a special area clearly marked out from secular and mundane reality. Many rituals entail an actor, a role, a dramatic part or enactment and a stage or special area where the performance occurs. In most cases, however, the content of the drama is a part of the religious tradition of the group and in this sense is not a secular “play” precisely because it is ritual before it is drama. T.S. Eliot makes this distinction between art and religious sacraments (in “A Dialogue on Dramatic Poetry,” Selected Essays,London, 1951).Ritual drama-is both ritual and drama. Actors impersonate sacred beings and heroes from mythology. Often the drama itself is an enactment of the myth.
Anna Halprin's Theatre and Therapy Workshop
Authors: Jean Norma , Deák Frantiŝek 
Published: April 2006

For the last two years the San Francisco Dancers’ Workshop has concentrated on the workshop process rather than on public performance. This change of emphasis is closely connected to Anna Halprin's concern with therapy (a means and an end in itself) as the focal point of artistic activity rather than with the esthetic or formal elements of dance or theatre.In a broad sense, the theatre experience—through empathy, for example—can be considered in terms of therapy. In the same way, therapy, especially group therapy, has “theatrical elements,” such as role-playing, acting-out emotions, self-revealing monologs, etc. But usually theatre and therapy, in their conventional contexts, remain two separate areas with only minimal overlapping.Anna Halprin bridges the gap between therapy and theatre first by being a performer (a dancer with a long history of innovative approach to dance) and a dance therapist; and secondly by devising workshops in which the function of theatre and therapy are identical.
Sexual Fantasy Theatre
Authors: de Strulle Arlene 
Published: April 2006

In 1974, Barry Farber, a nationally syndicated broadcaster, placed a full-page ad in Penthouse magazine. The ad, entitled “What Turns You On?”, was an appeal to those who had been having unusual forms of sexual relations and to those who had been suppressing their sexual fantasies (resulting in abstention from all sexual activity) to write letters detailing those fantasies to The Project. The Project was founded by Farber as a sexual minority research and education center, as well as a therapy workshop for fantasists.A performance was created from the letters received in response to the ad. Seven fantasies (six of the seven fantasists selected were male) were reconstructed precisely according to the letters. In some cases, the fantasist was invited to direct her/his particular segment.The performance, Another Way To Love, is staged in a large loft in New York City at 127 Grand Street.
Native American Performance
Authors: Jenkins Linda Walsh , Wapp Ed 
Published: April 2006

Performance events are carriers of Native American cultural traditions and values. From the earliest European contact into this century, missionary and government efforts have been directed at eliminating performance in order to destroy Indian cultures and effect assimilation of Native peoples into Western customs and religions. From the first Spanish contact in the sixteenth century, efforts to Christianize Indians have forced alterations in or destruction of traditional performances. In 1646, the Puritans of the Massachusetts Bay Colony drew up rules prohibiting curing ceremonies among the Indians they converted.But the major efforts at purging Indians of their traditional ways were carried out in the nineteenth century, when by 1887 all of the extant tribes except the Papago had been brought under the reservation system. The agents, in virtual dictatorial control of the reservations, were to a large extent military men, and they in turn were influenced by missionaries as well as non-Indians who wanted land and mineral and water rights.
Hispanic Oratorio In New York City
Authors: Ndini William 
Published: April 2006

Flanked by apartment houses on 156th Street between Broadway and Riverside Drive, Our Lady of Esperanza Church serves Hispanic immigrants to New York City. The incongruous Classical Revival facade of the church evokes its aristocratic origins:Archer Milton Huntington made his first trip to the Iberian Peninsula in 1892. From an archaeological camp at Italica, the first Roman colony in Spain, near Seville, he brought home Corinthian capitals, inscribed gravestone fragments, and jewelry…Since childhood Huntington's thoughts had dwelt on the ‘foundation of a Hispanic center where source material in documents and examples of the arts of Spain andiPortugal might be studied as a basis for original research.’ In 1904, he established the Hispanic Society. Two years later he donated land near Audubon Terrace for a Spanish church, a site that was known at the turn of the century as Spanish Hill.
The Manteo Family's Sicilian Puppets
Authors: Adler Lois 
Published: April 2006

“The last example of a 300-year-old tradition” is what the handbill says, referring to a performance of the famous “Papa” Manteo Sicilian marionettes at the Loreto Playhouse on Bleecker Street in New York City.Certainly, the Sicilian marionettes are special. First, they are rod puppets-not terribly common, although this kind of puppet existed in Roman times. A rod “control” is pushed through a hole in the head and hooked into an iron eye loop in the torso; another rod controls the right arm, which is the sword arm. Normally, the puppeteer uses the left hand to control the head and the right hand to control the arm. There is no leg control and the legs, therefore, swing free, moving by their own weight. This gives a realistic look to the walk, a kind of a stiff-legged stride which Bil Baird describes in The Art of the Puppet as being famous all over Sicily: “Students stiffen up and fall into the ‘Orlando’ walk just for fun…”
The Para-Troupe
Authors: Setrakian Ed 
Published: April 2006

Tom Murlin and Johanna Went, under the names of Murlin and Johanna, have performed street theatre across the United States since the spring of 1975. Much of their work consists of improvisation based on an object, an idea, or a suggestion that either performer may introduce before or during a performance. None of the pieces that evolve are rehearsed or plot-structured. No meaning is intended, although some spectators have claimed that they have derived meaning from Para-troupe pieces.Murlin and Johanna's touring has taken them to many cities in California, Nevada, Texas, Louisiana, Maryland, and Canada. They also have performed indoors at the Crippled Children's Hospital in New Orleans, the University of Toronto Convocation Hall, St. Francis College's Founders Hall in Brooklyn, Theatre Genesis in New York City, and the LaMama Theatre of Hollywood.Murlin, a 37-year-old former attorney, became involved in street theatre after abandoning his practice in Los Angeles in the mid-1960's to write plays for experimental theatres in New York City.
The Marilyn Project: A Structuralist Play?
Authors: Kirby Michael 
Published: April 2006

The Marilyn Project, a new play by David Gaard, was being presented in a special performance for the Directors’ Unit of the Actors’ Studio. Richard Schechner, who had directed The Marilyn Project, was moving about watching the actors from various vantage points. He stopped to talk quietly and briefly with one of the spectators. “This,” he said as he moved away, “is my contribution to the Structuralist movement.”In what sense could Gaard's script and Schechner's staging of it be called “structuralist”? Of course, the answer will depend on how we define the term. If structuralism in theatre means that particular emphasis has been given to the structure of the presentation or that something unusual has been done with the structure, The Marilyn Project fits the definition.When the spectator climbed a long flight of stairs at the Performing Garage and entered the large rectangular room, he saw a single row of seats along three of the walls.
Seeming, Seeming: The Disappearing Act
Authors: Blau Herbert 
Published: April 2006

Sir, thou hast nothing to draw with, and the well is deep: from whence then hast thou that living water?St. John 4:11What we want to show is not only the structure we have come to but the conceiving process in the structure, what led to it and what leads back to its sources, in the world, in us, in the friction between us, the work, each other, the rage, the work, each playing upon each other, receding, the world, our gravity; a memory trace in a spoor of association, the thinking through. There is always the haunted and critical moment when what we're after seems almost not-there, the moment of Appropriation, the stepping back: “Is this not something more than fantasy?” Act? how? why? where? what for? for whom? and to what End? Why are we doing this in the first place? and can we? and since there is always the likelihood that nobody is listening or, if listening, cares what it means, what difference does it make? It may be that we are all listening to different voices, this candle, that flame; not for love or money the same light: Even before detente, one loved the Russians.
The Life in a Sound
Authors: Serban Andrei 
Published: April 2006

We attempt to create a sound—a sound which grows and turns into a cry. We try to find the energy which produces this action and to become aware of it.I see the sound as an image. I see what is enclosed in it—a column of air trying to break open. In the effort to produce the cry I attempt to replace heaviness with spontaneous vitality. The cry becomes either an expression of freedom and awakening or a sign of imprisonment; it all depends on how the sound is controlled and directed from inside.At the beginning of this research real calm is required. One must accept the risk of passing beyond one's accustomed realm of habitual expression. One must try to discover an image, to nourish this image with something concrete, a taste, a smell.
With Foreman on Broadway Five Actors' Views
Authors: Nahshon Edna 
Published: April 2006

On opening night of The Threepenny Opera at the Vivian Beaumont Theatre, director Richard Foreman sent Elizabeth Wilson a note:4-30-76Dear Elizabeth,You have beautifully redeemed Mrs. Peachum from the stock company character she's usually been & I thank you for your talent (which you can't help having) & your dedication to the show and my efforts: we come from different worlds but I feel we are together.LoveRichardThe recent Lincoln Center production of The Threepenny Opera functioned not only as the meeting place of an avant-garde director and professionalactors, most of them strangers to the experimental theatre scene in New York; it also brought together two disparate theatre schools: one totally evolving around the actor's performance, the other regarding him as but another element of the production.
Romain Rolland and the French People's Theatre
Authors: Fisher David James 
Published: April 2006

“And he was obscurely attracted by the new promised world—the people … Like other naive young men, he cherished great plans for popular art, people's concerts and people's theatre, which he would have been very troubled to define. He expected that revolution might make possible artistic renovation, and he claimed that he had no other interest in the social movement.”Romain RollandJean-Christophe
“I Write These Messages That Come”
Authors: Fornés María Irene 
Published: April 2006

Thoughts come to my mind at any point, anywhere—I could be on the subway—and if I am alert enough and I have a pencil and paper, I write these messages that come. It might be just a thought, like a statement about something, an insight, or it could be a line of dialog. It could be something that someone says in my head.I have a box filled with these scribbles. Some of them are on paper napkins or the backs of envelopes. These things are often the beginning of a play. Most of the lyrics of the songs that I write are based on these notes—as opposed to a play, which, once it starts, I make. I usually gather a number of those things that have some relation—again, I do not even know why I consider that they are related—and I put them together.
Lenten Rites and Practices [The Philippines]
Authors: Mendoza Liwayway 
Published: April 2006

In April, just as the summer heat begins to reach its peak, the Philippines joins the rest of the Christian world in the observance of Holy Week (Semana Santa), recalling Christ's passion, death and resurrection. In rituals born of his Hispanic heritage, the Filipino mourns and celebrates Semana Santa, infusing it with a distinct pagan fervor. Local traditions and medieval rituals combine with modern day innovations to suit varying temperaments and locales.From Ash Wednesday to Good Friday a piercing lamentation fills the air as the life of Christ is chanted in gatherings called pabasa. For seven weeks, at odd hours of the day and night, participants recite the passion and death of Jesus Christ from the Holy Book. There are as many versions of it as there are dialects.