...Judith G. Miller; Rachel M. Watson Production photograph from Ariane Mnouchkine s Molière, 1978. Photo: Michèle Laurent Judith G. Miller and Rachel M. Watson Molière and Mnouchkine Figuring the Future through Filming the Past Critics at the 1978 Cannes film festival walked out on Ariane Mnouchkine...

... thirty-three weeks. A.C.T. has a staff of over 200 with a yearly budget of $4,000,000.00; only 28% of this figure comes from grants and foundations. The position of “dramaturg” at A.C.T. evolved as the pragmatic “literary” needs of the company made themselves apparent over the years. Dennis Powers has...

... catastrophe— whether figured as epidemic, as environmental collapse, or as the end of meaning. Copyright © 2019 Yale School of Drama/Yale Repertory Theatre 2019 Reza Abdoh Ann Liv Young Robert Woodruff Branden Jacobs-Jenkins scene of suffering Hal Foster abjection Julieta Kristeva ...

...Matthew Wilson Smith © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Figure 1. “The inherent mathematic of the human body” Matthew Wilson Smith Schlemmer, Moholy-Nagy, and the Search for the Absolute Stage Some company recently was interested in buying my “aura...

... of Byzantine and inflexible flavor: iconoclasm. Theater, and any art form that does not come to terms with its own factual possibility of not being there, does not interest me.1 The return of the figure as iconoclasm of the stage is the question that accompa- nies the pleonastic theater...

... of conversation, every- Frankfurt World Theater Festival in Sep- tory relationship between Wilson and his day phrases, unrelated sentence fragments. tember. There is still hope that an audience principal collaborators, particularly the Col- Before long, the space figures are joined will get...

.... Much nineteenth- feit likenesses to the world at large. Long century acting, in its insistence on mak- after the cdv had been superseded by ing points by striking an illustrative the cabinet photo in the 1880s, the Figure 1...

... Woman Girl's Mother GIRL: All right. (Pause) Mother said that Two Masked Figures light in the tree must be a firefly. Fetish Priest Two Attendants OLD WOMAN (in a singsong): Little chil...

... exclusively in terms of language find it hard to read plays. When you “see” this other world, when you experience its space-time dynamics, its architectonics, then you can figure out the role of language in it. If too tight a focus on language makes it hard to read plays, too tight a focus on character...

..., infinitely suggestive but immaterial; hidden beneath the prose is a “fragile, fluctuating center which forms never reach,” a center It is difficult, if not impossible, to conceive of two figures more...

...- figures unfold in twilight on a perform- rounding amphitheater, “Ladies and ing area of over 15 acres. Gentlemen, welcome to the Nineteenth While the common theme of the Opposite page: Annual Bread and Puppet...

...’ methods of his creativity and sometimes performance, it is necessary that the speech even tries to compose something like a of each figure be unique and maximally “theory of drama.” On the hope that this expressive. Only under such conditions will will be understood...

...- 49 dience distinguishes the figures only by their dress and a few other When you take these plays and you put them into a modern unmistakable features such as hair color, presence of beards, etc. theater - which is normally very small - the audience is brought Their figures are not highly...

... figures and dysto- pian landscapes through movement, costume, and set design. Along with these visual resonances with Chun’s work, Nameless forest incorporates neon elements by Gandalf Gavan, an original score by Stephen Vitiello, and audio diary recordings and docu- mentary images...

.... And that of the text in his 1988 staging. brings me to the cmx of the issue in the author’s staging of his The play takes up the figure of the worker hero as “Aktivist.” text: how does Heiner Muller present history, how does he make an agitational model adapted from...

..., separated structuring out story of sorts responding to Euripides. vaguely feminine Cycladic sculpture. A of visual and acoustical material so that Muller’s Description of a Picture/Ex- wrapped figure stands anchored in front “in the mixing in the head, something plosion of a Memory consists of one...

... the stultifying sense of intimacy and favor in relation to the Regulations, and then liberates petrolia. action on the stage). Directly across from the stage petrolia is reveal’d, a black figure within a will be a Royal Box...

... that it was incantatory, magical; art was an instrument of ritual.”1 In the seemingly banal rituals of Carrie Mae Weems’s vernacular photogra- phy, one experiences the soft positioning and glower and glare of the subject, whether belonging to past, present, or dystopian future. One sees the female figure...

... in the field of theater and performance. So I’ll prob- lematize the figure of the curator as I know it in the visual arts, where it appeared first, hoping to offer some tools to think about it outside of this particular terrain. The Figure of the Curator and Its Genealogy The role of conceiving...

..., carried between mouthfuls of spaghetti, with his drag Dom Juan to eternal damnation at the in and held up by four “curtain boys,” were master’s dubious exploits (“the most reckless end of the play, the stone figure of the Com- drawn across the scene and then quickly scoundrel who ever dwelt...