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...George S. Kaufman; Morrie Ryskind Copyright © THEATER 1978 1978 Something New George S. Kaufman and Morrie Ryskind An Announcer Comes Before the Curtain: (He stops) Old Man: Fifty years it is since first she gave...

...Craig Latrell Copyright © THEATER 1978 1978 Theater in New York Something about Dirt: Seneca’s Oedipus Directed by Richard Schechner The Performance Group Craig Latrell There is a kind of bad contemporary art use of dirt in Schechner’s production of This is, I...

... Institute of Political Murder ( iipm ), and has been something of a through line for the director. In analyzing both projects, Defraeye traces their development and provides the historical and cultural context of the events presented. In the case of Hate Radio , this involves looking at performances...

... of the 'private man.' But their plays contain the pulsebeat of a tense social existence, something present in the profound psychological searchings of their protagonists. The young playwrights have not, in my opinion, written their best works yet. But they are already speaking in a language of their own...

... adaptedfiom the story of the same name by Ambrose Bierce music by David Lang Something walks here S C EN E [monkshood]: a little...

... and pure sound. Did this come out of your work with Peter Brook? Serban: Yes. Everything began when I met Brook. Before that theater was something I was very passionate about, but I was working out of a sort of sexual pleasure. But working with Brook, I began...

...? You want something else . . . You came, you somehow forged a ticket, or, I don t know, asked someone to take you inside . . . Or got in through a window, or . . . What did you come here for? What do people come to a theater for? To experience what? They come to see something they cannot see at home...

... The Thief’s Wife Judge A Boy putting up posters Act One THIEF Scene One 1’11 go see the King, 1/11 steal something from him-but what? Well, how about...

... a second, and quite dtflerent produc- time of that performance and not a tion of Chewlovk play for Joseph Papp at the metaphor, a representation or a substitute Public Theater in New York. Serban talks about for something else. There were no Chekhov and the two stagings in the following...

... of their use of space and style of interpreting Dostoevsky. But it always came back to the mysterious alchemy of the relationship between director, actor and audience. Radziwilowicz: Why Dostoevsky? strong and courageous enough to go Because he wrote, something no one deeper than anyone else...

... for it, and through which the holy teachings were communicated. It was, ob- because there is no found3 tion interest whatsoever in that work. viously, a totemic function, intended to communicate something Therefore my - let’s call it my “Artaud...

... saying, “No, no, no. I want something like Hotel for Criminals.” Then they played an active role in the creation of the opera...

... the Beanstalk in department store windows. There was a perfor- the words there has to be this musicality, or you have something mance of Jack and the Beanstalk and there was no script for it. It was that is exactly what it says it is, which isn’t much. You need to handed down orally for at least seventy...

... of thinking, each perfor- mance is the first and last one. Nothing came before, and nothing will come after. You have only one chance to express something, and you have to use it, and the stage, with urgency. As an artistic director, I look back to Schiller, but have other examples and models, mostly from...

... Zipes The following interview with director Peter Stein and drama- Stun: turg Dieter Sturm took place in Berlin on June 6 and 7,1977. The interview lasted over three hours; what follows is an Something they view self-critically today. edited version. Jack Zipes was assisted by Joel...

... ourselves if the design curriculums as we understand them were meeting the questions and needs of students. Did something need to be refreshed about the way we not only talk about but teach theater design? Flash forward and, one million follow-u­ p conversations later, here we are. So, joining me to kick...

... revis- tion isn’t to make performance for the sake of its the radical gestures and revolutionary iconog- innovation or to just make something new all raphy of the 1960s with an earnestness that blurs...

... actor 1 What I’m about to say is something actor 1 Whoah, but that kind of thing is, I’ve thought about in my head, in fact that I want to live more fully, it’s just too, something I’ve never revealed to anyone else you know, or like, that may be something before. In other...

... there. She sings and she raises her hand, as if in those swirling shapes and colors there were something, some matter of significance, that could be touched upon, with a word or a breath, or with a gesture, or through the invisible trajectory of a thought. Shall we say she steps forward, and as she...

... mean evolved, you know, for someone Platforms that began eighteen months before the who’s coming from a more choreographic cre- exhibition in Kassel, Germany. He helped me to ative point of view. I had an idea of how that think about the possibilities of curatorial design work relates to something...