...Len Jenkin; John Arnone Copyright © Theater 1993 1993 NDOCTORDIVINE+ =resents sand Cmbinet of Curiosities by Ian Jenkin and John Arnone...

...Gordon Rogoff Theater magazine founding editor Gordon Rogoff puts the history of the American theater over the last five decades under a critical retrospective lens, examining how shifting political, social, and economic conditions have shaped theater as both industry and art form. Rogoff ’s essay...

...Elizabeth Ackerman Dark Ride and Other Plays By Len Jenkin, 1993: Sun & Moon Press Copyright © Theater 1993 1993 M c N u LT Y / s EI T E I R / A c K E R MA N Peripheral at the capably guides us through it, but doesn’t tell...

... Copyright © Theater 1994 1994 Index for Volume XXIV, Nos. 1-3 Ackerman, Elizabeth, “Peripheral at the Center” Jenkin, Len (with John Arnone), Dr. Divine [book review: Len Jenkin’s Dark Ride and Presents Baby Zoe’s Midway Spectacular and Other Plays...

... relationship to theater is more Psychology at Columbia. Just a few I took “good” pictures. My boss told Mthan just what 1 see through the months after the death of a very close me so herself when she saw me work- lens of my camera. When I was friend, when I was at my absolute ing...

... was imprtgnaled by. an Xi in this, its 24th >;ear, sinks even older. mmed man she adored; who is a very moving, lerribly honest then wed a young Nazi soldier who re- ccount. and il is beautifully express4 lower as the season progresscs. so that by Len Cariou...

... and communities little room to think broadly. There is nothing wrong with a strategic lens, and this book is at its best when the lens and case narrative find common focus. But the vast and compelling evidence the authors assemble suggests that oversimplifying and overseparating the strategic...

... be clear to me but wasn’t. If the New York Times is the lens through which the general public views, understands, and evaluates theater, I started to wonder, is it a clean lens or a funhouse mirror? The New York Times is often referred to as our “paper of record,” and there is no question...

... to “What is this work doing?” That implies a into a larger anti-intellectual sentiment that certain critical lens: a queer lens, a community many ofus are Žghting. I refute the idea that a lens, a Marxist lens, or a feminist lens. What specialized language is a language ofelitism or happens when...

... to be true could be false and generated by a dream. That process is the work of the marginalized body, and the lens through which we must view the images of Carrie Mae Weems. The image on which Weems focuses her lens in the multidisciplinary perfor- mance work that is Grace Notes: Reflections...

... Mark B@was conducted in January 1984. GarIand Wright 67 Cundide, adapted by Len Jenkin and directed by Garland Wright. Guthrie Theater, 1982...

... ways. There’s never a direct archaeology. It’s herskovits We are presently engaged in always filtered through a distorting lens, and turning this play and this translation into an that lens is today. opera. Target Margin Theater has been...

... with energy whenever Sverrisson’s bass can crack our wall of habitual reserve. The lens begins to vamp. head, the talking stick, the incandescent visuals, The infusion of high tech has spottier and the potpourri of song forms are meant to consequences in the visual realm...

... a laborative work of two new talents from the complex system of white, diaphanous cur- Journey to off-off-Broadwaytheater. The first of these tains that were used to set off vividly is Len Jenkin, who has had a number of costumed...

... they are doing this piece sketchy text was adapted and expand- rather than another. ed by playwright Len Jenkin and In the Kararnazovs’ adaptation, Joe...

... removed career transmogrified into something completely from the event itself, the critic of performance different yet bizarrely related: I wanted to be a criticism must possess a wide-angle lens to keep theater critic. one eye...

... through a distorting lens suspended in, yes, the proscenium arch. Chanting slogans, voices rise in unison, images of picket lines, confrontations, other spaces where stands have been made. But this is a theatre, a mediated world; the confrontation is suspended, or at least transformed...