...Tom Sellar © 2014 by Tom Sellar 2014 Mårten Spångberg’s The Nature, Eden’s Expressway, New York, 2013. Photo: Joanna Nordahl Up Front Seeing the Show Tom Sellar Because of its rigid institutional structures, the theater is easy to see as a frozen form —  albeit one...

... broadcasting, and translation into foreign languages, are strictly reserved. Particular emphasis is laid on the question of readings, permission of which must be secured from the adapters. After the Show premiered and closed on November 14, 2013, at the Martin E. Segal Theatre Center at the cuny...

...Sigrid Gareis; Tilmann Broszat In this piece, Gareis and Broszat discuss the need for a cross-cultural exchange regarding the practice of live art curation, a conversation that culminated in the 2015 project Show Me the World and the spielart Festival in Munich. At spielart , six invited curators...

...Eileen Blumenthal Copyright © THEATER 1978 1978 Theater in New York; Artaud and His Double: Jerry Mayer’s Tuud Show Eileen Blumenthal The Antonin Artaud we see in Jerry thoughts, of “lacking words that corres- sense of rat-in-a-cage confinement. Mayer...

... in Aya Irini and Dies Irae: The Preposterous Theatrum Interioris Show, which document Richards and Biagini’s more recent work at the Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera. I also learned a great deal from the session titled “Grotowski’s Legacy and the Workcenter,” where...

...Robert S. Mandel Copyright 1968 by yale/theatre 1968 The 70 Shows: A Cradle Endlessly Rocking by Robert S. Mandel I. Untapped Resources 2) The acting was uneven at best and in• adequate at worst...

... of 1983. Oskar Eustis, resident dramaturg at the Eureka Theater in San Francisco, translated the play for its premiere there, and discussed the production with Molly Fowler last August. Neither Fish Nor Fowl portrays two married couples, and shows the changes in their relationships after technological...

... in which Ebenezer Jones, a lapsed '60s activist, receives ghostly visits from Richard Nixon (the Spirit of the Past), Nancy Reagan (the Spirit of the Present) and Jones' own daughter (who shows him what the future will be like with a Reagan-appointed Supreme Court). As usual, Joan Holden had an important...

... by the villagers. ‘Not enough flair,’ he comments. Then he buys a mask after checking the price with his guide: ‘Is that what you would pay for it?’ Reassured, he asks his favourite question: ‘What else are you going to show me?’ It is getting dark and everyone is tired — the maestro, his Indian hosts...

... excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one...

...André Lepecki In a talk originally presented at the 2015 Munich conference for the “Show Me a World” project, scholar André Lepecki, drawing from postcolonial theory and critical black studies, puts forth a critique of the colonial tendencies within curatorial practice and the art system. Lepecki...

...Robert Quillen Camp; Gavin Kroeber © 2014 by Robert Quillen Camp and Gavin Kroeber 2014 Presenters and audience members gathering for After the Show, Martin E. Segal Theatre Center, New York, 2013. Photo: Gavin Kroeber Robert Quillen Camp Gavin Kroeber Postshow...

... on the ground blind- writer Keith Johnstone—each show features an folded and covered in blankets as actors whisper accidental celebrity culled from the ranks of in their ears and manipulate their limbs. Up- New York’s natives. A hip theatrical version...

... responded so enthusiastically that the show ran commedia dell'arte, as well as clown and mask techniques. continuously that summer, and was revived several times. But the training is not for technique alone; it aims to open For the company, because so much of it was worked in up the actor as a means...

... quality-each scene must look like it never happened before-the show is never rehearsed. The structures (the skeletons or scenarios) are learned and lots of theatre games are played and some intricate yet elaborately veiled sensitivity training...

...Penn; Teller Copyright © THEATER 1988 1988 10-IN-1 PENN AND TELLER PENN is C in the dark. through this fire-eater’sperfect act, my may like the show, but they don’t get it. PENN...

... in Toronto, May complex, character-based show that defies conventional 1988. Last Summer, from May 22 to June 9, they labels in its yoking together such apparently disparate presented Mump and Smmt in 'Caged' . . . with Wog at realms as clowning and horror. New York's Off...

...Heather Henderson Copyright © THEATER 1987 1987 HEATHER HENDERSON It’s not listed in the Bible, but my spiritual gift, my speciflc call- ing from God, is to be a television talk-show host. That’s...

... and turns of the story, like a run- on sentence, breathless, in double time. Nathan Lane, who performs it, has called the number a “musical nervous breakdown.”1 For the audience, the song is an in-joke, a crazy midstream retelling, full of nostalgia for the show before it’s even over, adding another...