Set designer Sandra Goldmark is starting up a new sustainability project with her husband, Michael Banta, a production manager and technical director, along with several theatre colleagues. They are opening a 4 week Pop-Up Repair shop in northern Manhattan, this June. The shop is a challenge to the cycle of use-and-discard consumer goods, and will be staffed by theatre artists. This experimental project is asking the question: can we as theatre artists create social change, not only with the theatre that we make, but with the way we make theatre – by hand.
Theatre Without Borders, presented by La MaMa ETCand in affiliation with Brandeis University, announces ACTING TOGETHER ON THE WORLD STAGE: A CONFERENCE ON THEATRE AND PEACE BUILDING IN CONFLICT ZONES, September 23-26, 2010 in New York City. This conference brings together theatre and performance practitioners from around the world to share their experiences with artists, activists, educators, policy makers, and the general public.
ACTING TOGETHER ON THE WORLD STAGE grows out of a five-year initiative of Theatre Without Borders and Brandeis University. During this time, Theatre Without Borders members have attended gatherings and explored, with the guidance of peace-building scholar/practitioners, a range of questions about the relationship between the arts and conflict transformation. ACTING TOGETHER ON THE WORLD STAGE will begin a year of programming to disseminate the documentation of artists working in conflict-zones worldwide in contexts of direct and structural violence and in the aftermath of mass violations of human rights. At the conference, TWB and Brandeis will launch a documentary film and a website and plans for an upcoming anthology.
TWB is a grassroots, volunteer, virtual community of individual theatre artists around the world who are committed to international exchange. This conference has no formal funding and guests are being sponsored by hosting organizations, including universities, Cultural Affairs divisions of embassies, foundations, and theatres. All are welcome!
Thursday, September 23 – Sunday, September 26, 2010
Ellen Stewart Theatre, La MaMa ETC, 66 East Fourth Street, NYC 10003 http://www.lamama.org
Conference official hotel is Club Quarters, Wall Street. Please call 212-575-0006 and use code NYU001 when making reservations. Other hotel options available.
A suggested donation of $25 may be made in advance at www.lamama.org (click “Support Us” tab and enter put TWB in the “On Behalf Of” section) or at the door. Volunteer workers graciously accepted.
*PLEASE NOTE: This is NOT an international performance festival and we are not seeking submissions for performances. We are curating an event entirely focused on artists working specifically on “THEATRE AND PEACE BUILDING IN CONFLICT ZONES.”
Eleanor Margolies, editor
published by Centre for Excellence in Training for Theatre/Central School of Speech and Drama (CETT)
Artists, engineers and architects look at the raw materials of theatre in Theatre Materials: What is theatre made of?. An illustrated collection of essays, edited by Eleanor Margolies, it delves into the matter of performance, from portable theatres to street arts, the physics of materials to low-energy lighting, mirror neurons to acrobatics.
Eleanor Margolies writes ‘Theatre artists are experts in materials: the costume maker records how different textiles respond to dyes, the prop maker seeks out compounds and techniques developed for boat-building and aeronautics, the director and actor study the body. But these forms of knowledge, which combine tactile experience with thought and imagination, are too rarely articulated outside the workshop’.
reflections on ‘six real things’ by celebrated American director Anne Bogart;
theatre critic Robert Butler trying not to sink into a muddy swamp;
scenographer Pamela Howard auditioning fur and lace for an opera set in 1950s New York;
cartoonist Tim Hunkin taking off his kid gloves;
Zoe Laughlin, curator of the Materials Library, smashing roses and blasting memory alloys back into shape;
puppeteer Sean Myatt rambling around a landscape of performing objects;
professor of theatre Alan Read on anthrax, cement and the lure of material facts.
The book is a record and continuation of the The Theatre Materials/Material Theatres conference at CETT.
Other contributors are:
Rene Baker (puppeteer and lecturer at the Institut del Teatre, Barcelona)
Anne Bogart (Artistic Director, SITI Company, New York)
Jane Heather (illustrator and theatre designer)
Joanna Parker (scenographer, Central School of Speech and Drama)
Paul Rae (performer and lecturer, National University of Singapore)
Bob Sheil (architect, the Bartlett School of Architecture, UCL)
Ben Todd (Executive Director, the Arcola Theatre).
For more information, contact Gail Hunt at CETT: firstname.lastname@example.org
t: 020 7449 1571
Theatre and the Environment Panel (And an excerpt of a work in progress) Martin E. Segal Theatre Center The CUNY Graduate Center, 365 Fifth Avenue New York, NY 10016-4309 April 23rd, 2009, 6:30 pm
Join us on the evening after Earth Day to explore what theatre artists and production staff are doing to meet the extraordinary challenges of climate change. At a time when local, state and federal governments are setting goals for reductions in carbon emissions, holding public meetings to solicit public recommendations for adapting to rising sea levels; when businesses are beginning to talk about renewable energy, closed-loop waste streams, and innovative mobility systems; what are we doing in the theatre?
This event will explore theatre and the environment from two perspectives: the process of making theatre, and the theatre we make. On the process side, we will explore building performance and renewable energy, facilities management, closed loop set design and construction and intelligent recycling. On the content side we will see an excerpt of a new play by Shelia Callaghan. Directed by Daniella Topol, we will learn from her how this multimedia theatre piece about water has been shaped through her consultations with scientists at the Department of Environmental Conservation. We will also reflect on Bill McKibben’s lament that the theatre lags behind other art forms in grasping – and mining – the full artistic potential of this issue