2012
|
|
Tuesday, November 27, 2012 Hello Hi There
By Annie DorsenFisher Center, LUMA Theater Tuesday, November 27 at 6 and 8 pm Tickets: $20; $5 Bard community Discussion after the 6 pm performance with Annie Dorsen and Maria Sachiko Cecire, coordinator of the Bard Experimental Humanities Program and assistant professor of literature Hello Hi There uses the famous television debate between the philosopher Michel Foucault and linguist/activist Noam Chomsky from the seventies as inspiration and material for a dialogue between two custom-designed chatbots. Every conversation between the chatbots forges a unique path due to their custom-made software, which has been programmed to mimic the nuances of human conversation. The result is an unexpected, uncanny, and humorous meditation on what separates humans from machines. Obie Award–winning director and writer Annie Dorsen works in theater, film, dance, and digital performance. Her most recent work, Hello Hi There, premiered at the Steirischer Herbst festival (Graz), and was presented at Black Box Teater (Oslo), BIT Teatergarasjen (Bergen), Hebbel am Ufer (Berlin), and PS122 (New York), among others. She is cocreator and director of the 2008 Broadway musical Passing Strange. In 2009, she created two music theater pieces: Ask Your Mama, a setting of Langston Hughes’s 1962 poem, composed by Laura Karpman and sung by Jessye Norman and The Roots (Carnegie Hall), and ETHEL’s TruckStop, seen at the Brooklyn Academy of Music’s Next Wave Festival. In 2010, she collaborated with choreographer Anne Juren on Magical and with Juren and DD Dorvillier on Pièce Sans Paroles. In addition to numerous awards for Passing Strange, Dorsen has received several fellowships, notably the Sir John Gielgud Fellowship from the Society of Stage Directors and Choreographers. She has taught at New York University, Fordham University, and Playwright’s Horizons, and is a graduate of the Yale School of Drama. |
|
|
Tuesday, November 13, 2012 Theater Festival: Five Senior Projects in Directing
Fisher Center, Resnick Theater Studio Tuesday, November 13 at 7 and 9 pmWednesday, November 14 at 7 and 9 pm Thursday, November 15 at 7 and 9 pm Friday, November 16 at 5, 7, and 9 pm Saturday, November 17 at 5, 7, and 9 pm Sunday, November 18 at 5, 7, and 9 pm Free admission—reservations via the Box Office Five senior directing students in the Theater and Performance Program will present work as part of their Senior Projects in a festival taking place fromTuesday, November 13 to Sunday, November 18. These pieces—either short plays or edited versions of longer plays—will be presented in a rotating repertory, with two or three pieces performed each evening. The Belly of the Whale (edited) by Fabio Rubiano Orjuela Directed by Marta McKeown Performances: Tuesday, November 13 at 9 pm Thursday, November 15 at 7 pm Saturday, November 17 at 7 pm The Glass Menagerie (scenes one, two, three, and four) by Tennessee Williams Directed by Sarah Loucks Performances: Wednesday, November 14 at 7 pm Friday, November 16 at 7 pm Sunday, November 18 at 9 pm Gruesome Playground Injuries (edited) by Rajiv Joseph Directed by Sarah Poor Performances: Thursday, November 15 at 9 pm Saturday, November 17 at 5 pm Sunday, November 18 at 7 pm The Real Thing (edited) by Tom Stoppard Directed by Benjamin Wszalek Performances: Tuesday, November 13 at 7 pm Friday, November 16 at 9 pm Sunday, November 18 at 5 pm Savage/Love by Sam Shepard and Joseph Chaikin Directed by Moriah Van Cleef Performances: Wednesday, November 14 at 9 pm Friday, November 16 at 5 pm Saturday, November 17 at 9 pm For more information, click here. |
|
|
Thursday, October 11, 2012 Kassandra
Fisher Center, LUMA Theater Thursday, October 11 at 7 pmFriday, October 12 at 7 pm Saturday, October 13 at 7 pm Sunday, October 14 at 2 and 7 pm Tickets: $15; $5 Bard alumni/ae and senior citizens A new twist on the well-known story of the Trojan War as told by the prophet Kassandra, who is blessed and cursed with the ability to see what others can't. Adapted from the novel by Christa Wolf and directed by Artist in Residence Jean Wagner. For more information or to purchase tickets, click here. |
|
|
Thursday, April 19, 2012 Senior Playwright Project
Fisher Center, Resnick Theater Studio The Story of Life Before Life EndsBy Andrew Levy '12, directed by Gavin Price April 19, 20, 21, and 22 at 8 pm A man slips into his subconscious where his only lifeline is the woman of his dreams. A play about looking back before moving forward. Written by Andrew Levy '12 and directed by Gavin Price, The Story of Life Before Life Ends is a story about looking back before moving forward. A drama with comedic elements, The Story of Life before Life Ends is about finding the silver stitching in the curveballs of life. Originally from New York City, Levy is a graduating senior in the Bard College Theater Program with a concentration in playwriting. Free, reservations required. Box office 845-758-7900. |
|
|
Tuesday, March 20, 2012 Karl XII
by August StrindbergFisher Center, Studio North directed by Jean Wagner translation by Wendy Weckwerth performed by Bard Theater students Harry Beer, Leonie Bell, Tess Boris-Schacter, Milo Cramer, Sonia Feigelson, Morgan Green, Schuyler Helford, Ezra San Millan, Hannah Mitchell, Sheppard Pepper, Christian Scheider, Madeline Wise, and Layla Wolfgang. A leader whose past glories have faded in glare of daily economic concerns; A violin-playing court fool; Counterfeit money in an economic crisis; An angry ghost. These are just a few threads in the tapestry of Karl XII (1901) by August Strindberg. 2012 is the centennial of August Strindberg, the Swedish dramatist, painter, essayist, alchemist, historian, poet, and alleged madman's death. Events around the world will celebrate his life and work. Karl XII and Strindberg's other history plays, all but unknown among English-speaking theater-makers, resonate with contemporary concerns and offer a largely unexplored view of his dramatic experiments. Combining the strategies of the established history play tradition with the associative logic of A Dream Play, Karl XII demonstrates the potential of performance as a way to comprehend, question, and explore history. Wendy Weckwerth is a dramaturg, editor, and translator based in Minneapolis. As Dramaturg for Voice & Vision Theatre and in freelance capacities at The Playwrights' Center and elsewhere, she has an ongoing commitment to new-play dramaturgy and advocacy for contemporary performance practice. As a translator, she has recently completed translations of Strindberg's Erik XIV and Karl XII. Her commissioned translation of Ingmar Bergman’s Autumn Sonata screenplay was the basis for Robert Woodruff’s stage adaptation that premiered at Yale Rep in April 2011. She is a former Associate Editor of Theater Magazine, and has been on the faculties of Dartmouth, Colby, and Mount Holyoke Colleges. She joined Bard's Language & Thinking Program faculty in 2010. Wendy holds a DFA and MFA in dramaturgy and dramatic criticism from Yale School of Drama and a BA from Vassar College. |
|
Thursday, March 15, 2012 AUDITION NOTICE
Open to all Bard StudentsFisher Center, Resnick Theater Studio The Story of Life Before Life Ends by Andrew Levy ’12 directed by Gavin Price A sign-up sheet for the auditions will be posted on the Theater Program board, in the lobby of the Richard B. Fisher Center of the Performing Arts. A copy of the sides will be at the front desk at the Richard B. Fisher Center for the Performing Arts. Call-backs will be on Friday, March 16. First rehearsal: March 27. Rehearsals will continue during spring break. To be performed April 19-22 in Resnick Theater Studio of the Richard B. Fisher Center for the Performing Arts |
|
|
|
Thursday, March 8, 2012 Daniel Larlham
"On Empathy and Lightness in Brecht's Epic Theatre"Fisher Center, Studio North Brecht’s “epic” theatre is often seen as a space of disembodied rationality. But reading Brecht against accounts of Einfühlung (“empathy”) in turn-of-the-century German philosophy and psychology reveals a very different picture: of a theatre in which audience members attune themselves vicariously to the gestures, postures, and movements of epic actors. The chief benefit of this kinesthetic connection is that actors and spectators together embody a performance quality of “lightness” – a freedom in body and intellect that Brecht champions across his philosophy of life in the theatre. |
|
|
Thursday, March 8, 2012 – Sunday, March 11, 2012 Stage Blood
Fisher Center, LUMA Theater By Charles LudlamDirected by Michael BarakivaThe Bard Theater Program presents Charles Ludlam's legendary comedy, Stage Blood, from the Ridiculous Theatrical Company. In this comedy, when a dysfunctional family tours the provinces performing Shakespeare's Hamlet, the consequences are unexpected. Charles Ludlam, playwright, founded the Ridiculous Theatrical Company in New York City in 1967. He wrote 29 plays and taught Comedia Della Arte at several colleges including NYU. He usually appeared in his plays, and was a great comedic actor. When he died tragically young of AIDS, the street in front of his former theater in Sheridan Square was renamed "Charles Ludlam Lane" in his honor. Ludlam wrote a manifesto entitled Ridiculous Theater, Scourge of Human Folly in which the first axiom of seven was “You are a living mockery of your own ideals. If not, you have set your ideals too low.” March 8 at 7 pm March 9 at 7 pm March 10 at 7 pm March 11 at 2 pm and 7 pm $10 general admission; $5 senior citizens, Bard alumni/ae and non-Bard students; free for the Bard community. Reservations required. Box office 845-758-7900. |
|
|
Tuesday, March 6, 2012 Miriam Felton-Dansky, Candidate for Theater Position
"This Contagious Delirium: Plan C and the Plague"Fisher Center, Studio North "The theater like the plague is a crisis which must be resolved by death or cure," wrote Antonin Artaud in the early 1930s. How can performance behave like an epidemic? And how can Artaud's dark, enigmatic formulations offer a blueprint for the work of artists today? This talk will explore Artaud's writing on the plague, and then link some of his most revelatory ideas about performance to the interdisciplinary work of contemporary conceptual artists Franco and Eva Mattes. The Matteses--who have created, among other pieces, a large-scale media hoax and a globally disseminated computer virus--recently traveled to the deadly "alienation zone" surrounding Chernobyl, and used their findings to construct a piece of participatory public art. This project, called Plan C , confronts spectators with the deadliest of twenty-first century plagues, updating Artaud's philosophy for a contemporary era. |