The Internationalists

Day One for the Hotel Project

2012-01-11T11:26:00.000-05:00

Perhaps the catchy phrase “what happens in Vegas stays in Vegas” would not exist if it weren’t because of the Hotels that there are in Vegas. Following on this logic there might be a little bit of Vegas in every town. In fact, hotels themselves are more alike than different in this hermetic quality; walking through the hallways of most inns one can experience the same sense ambiguity when thinking what is at the other side of each door; is the room empty, neatly prepared for the next guest? Or is the room inhabited? And when we say inhabited do we suggest a specific way to inhabit a hotel room? Being anonymous to a space, no having any other reference to our own selves than our luggage, might give us some kind of benefit that we might choose to take advantage, or not. But in any case, this is just one of the many possibilities that this kind of spaces seduces us with, and one of the many options that the group of writers and directors of the internationalists might have stumbled upon, as they took a deeper dive into the story of the Grand Summit Hotel this past ...read more.

With Ana and Tamillla about Hotel Project

2012-01-03T12:58:00.003-05:00

Hotel Project visonary Ana Margineanu and her collaboratorTamilla Woodard sat down to answer some questions about the Hotel Project coming to the Tri-State Area and they're very excited as you will read. Click here for the interview.in between shows the actors have some fun rewriting the play...

Hotel Project - coming soon in NYC & Summit NJ

2012-01-02T18:18:00.000-05:00

Hotel Project is a theatrical experience for one spectator at a time, performed in and inspired by a hotel and created by local and international teams of playwrights and directors. Adapted for local hotels in major cities around the world, this performance offers audiences a view of contemporary international artists and emerging theatrical forms. The uniqueness of the project consists in the relationship between performer and spectator. Audience members will travel through several rooms revealing the unseen lives of others. In this exclusive performance, you get to be a fly on the wall. Closed doors will be open.

WELCOME

For more info visit : www.hotelproject.co

2012 Global Playwriting Contest

2011-11-30T10:19:00.001-05:00

TheInternationalists is proud to announce our 2nd Annual Global PlaywritingContest. The winner’s play will receive presentations in variouslocations around the world. In 2011, John Freedman’s ‘Dancing, not Dead’was presented in Berlin, Bucharest, Moscow, New York and the Hague, andtranslated from English into Russian, Romanian and Dutch.

2012 Contest Mission

Thiscontest is for a groundbreaking new play that addresses the theme of ‘Presence/Absence’(Whenever one is present somewhere, he/she is absent everywhere else. Whendoes one’s absence become more significant that one’s presence?). Theplay should offer each director and cast in the various locations a uniqueopportunity to work on the development of a provocative and engaging textthrough the lenses of audiences around the world. This play should speakboth on a personal and universal level. It should be ambitious and stretch theboundaries of what is theatrical. Though the characters can be few andthe location specific, we are looking for big ideas and challenging questions. Thisis not only an opportunity to have a text exposed to different audiences, but achance to engage in a cross-cultural exchange that fosters a collaboration withmultiple directors around the world who will each have a personal vision of theplay.

Submission Guidelines

The Submission Form isRequired and Available Online. If you have trouble with the link, email us for the form directly. Click here for the Online Submission Form or visit our website.

1. Playwright may onlysubmit one full-length script.

2. The play submissionmust be in English (either original or translation).

3. The play must not havehad a fully mounted production.
4. Electronic form (Word or PDF) copy of full script

5. The playwright mustfill out the online submission form that includes:

a.               Name,address, phone number, email address and how you heard about the contest
b. Coverletter introducing yourself and explaining how your play addresses the missionof the contest. (500 word limit)
c.               Bio(300 word limit)
d.               Synopsisand Character Breakdown (300 word limit)

Deadline

The deadline for submissions is Midnight EST on Friday13 January 2012. Finalists will be notified by mid-March. Thefinal round of selection will include a telephone, video or in-personinterview.

Contact

Submissions should be sent to: submissions@theinternationalists.org

You will receive a confirmation of receipt.

For more information visit our website at www.theinternationalists.org

You can also findus on Facebook and Twitter.

Frequently Asked Questions about 2012 Global Playwriting Contest

2011-11-30T10:10:00.001-05:00

Is my play eligible if it has been produced before?

We are looking for new plays that are in earlierstages of development, that have not had design elements or a paying audience. Itshould be at a point where the writer is done writing and wants to 'hear' it.We are not excluding things that have been previously developed in a reading orworkshop or university, but are primarily looking for something that TheInternationalists and the winning writer can develop further together.

Why was my submission returned?

In addition to the script, we ask that you respondto the specified guidelines and questions listed on the contest form. Youcan find all this information on our website and facebook. Wehave a lot of submissions, so please read the information carefully. Itonly helps us distribute plays faster.

What do you mean by 'presentation'?

The Internationalists are committed to producingpublic staged readings of the winning play. As the term 'reading' hasdifferent connotations in different cultures, we decided to use the termpresentation. Depending on specific circumstances in select locations,there may be a higher level of production value, but this is not a condition ofthe award.

If I win, will I receive compensation?

There is no monetary prize for this contest. Theaward includes public presentations of your play, and in specificcircumstances, may also result in the translation of your play into anotherlanguage.

If I win, will I be invited to the readings?

You will be more than welcome at any and all of thepublic presentations, and The Internationalists will assist in securing travelfunds and housing accommodations for you.

What is the time frame of the readings?

It is the goal of The Internationalists to producefive public presentations within 2012. Depending on scheduling, they maycontinue into the beginning of 2013.

What about copyright?

The text of the play will remain at all times theproperty/copyright of the playwright. The Internationalists will require1) listing in future publications and programs, 2) that no other productionstake place between our first and last reading, and 3) right of first refusalfor a full production within a reasonable amount of time following the finalreading. ‪Details to be negotiated in good faith upon winning.

What will be expected of the winning playwright?

Thoughwe are happy to receive all eligible scripts, we are looking for someone who isalso interested in accompanying The Internationalists on this journey. Welook forward to developing a relationship with both the play and theplaywright. We are eager to share a fantastic new play to as broad aglobal audience as possible.

HOTEL PROJECT (The Grand Summit Hotel)

2011-11-23T11:54:00.001-05:00

We are incredibly excited to start our new adventure: Hotel Project. The pilot of this international theatical series happend this summer in Queretaro, Mexico. And in January 2012 we are going to launch Hotel Project in Summit, NJ and in Manhattan, NYC.

In Hotel Project, 3 playwright and director teams are assembled and commissioned to create a 20-minute performance inspired by the character and history of the hotel.Each is performed in a separate room of that hotel and given for a single spectator at a time, creating an immersive theatrical experience. The spectator is given the opportunity to view a set of three rooms in an evening. Once keys are chosen, the spectator is invited to enter the corresponding rooms alone. Inside, the play begins to unfold and the spectator becomes the proverbial “fly on the wall;” an invisible witness to a unique and intimate story.

For now, the first step: visiting the gorgeous Grand Summit Hotel, our new set:

...ask a lot of questions about rooms, hotel, people... everything...

... then ask more questions ....

do not steal the chocolate covered strawberry! ...

... but feel inspired by the unique athmosphere of the rooms - there are no two alike in this hotel!

...then plan, plan plan. 6 hours of planing, and it feels like we are just getting started :)

Conceived by Internationalists director Ana Margineanu, Hotel Project is an innovative twist on single-spectator theatre, a genre rapidly gaining critical and popular appeal in New York City and around the world. Ms. Margineanu’s piece “The Blind Trip,” presented as part of The Internationalist’s festival Which Direction Home? was featured in The New York Times in July of this year. In that article, Vallejo Gantner, the artistic director of P.S. 122 says of the genre: “It’s not just the numbers but much more about the theater of intimacy. I think audiences want this because it flings the challenge of creating meaning and interpretation back on the audience members. It’s the way we’ve always imagined the virtual world, but it’s alive.”

To find out more about this project, click here.

5 best things from Around The World

2011-11-14T21:48:00.000-05:00

Virtual Dinner Party - Berlin

What a day, November 12! But we did it, we did it! One day, 4 shows, 3 continents, and over 25 artists from 13 different countries! So, we started with a Skype Duet...

Skype Duet NYC

...then we exchanged food and drinks with Berlin in Virtual Dinner Party.

Virtual Dinner Party - NYC

In the evening we jumped in a "Long Distance Affair" with 9 actors performing for NYC audiences via skype from Australia, Mexico, Russia, Finland, Italy, Iceland, Romania, Greece & Turkey.

Long Distance Affair

Miguel Loyola in Long Distance Affair

Next, the spectators wrote live the script for Make Me Talk or Watch Me Drink!

Make Me Talk or Watch Me Drink

The 5 Best Things? Hard to say. Still. Here are my personal favorite moments of the day:

1. Watching the spectators both in NYC and Berlin dancing in Skype Duet

2. When I heard Cathy announcing that Long Distance Affair is sold out

3. Working with artists from other countries, without traveling - it's funny sometimes, how emotion can break through and how connections can be made regardless the physical distance. (well, in fact this was my biggest accomplishment in this process)

4. Watching all the people in the audience texting on their phones for Make Me Talk or Watch Me Drink

5. When one spectator from Virtual Dinner Party, said to another, after the show: "Let's come back later."
& one more:
5a. Watching the spectators from LDA writing postcards for the actors

Ok. It's time to make a confession. This post is not only a post, it's also a test. I'm curious to see if you read so far, if you are still here. So, please, if you are still here, post a comment! It can be as short and easy as "I'm still here" or, if you are in the mood to write, tell me how you ended up reading this article and what made you stay. If you were one of our audience members in "Around The World" tell me what show you saw and what are your feelings, good or bad. Ok? Thank you!

love,
Ana

Long Distance Affair - meet (almost) all the actors!

2011-11-11T12:44:00.000-05:00

Just one day left until Long Distance Affair. Meet now the actors and come see them performing tomorrow! (But buy your ticket now - tomorrow it may be too late...)

AROUND THE WORLD this Saturday Only! have you bought tickets yet?

2011-11-11T06:54:00.001-05:00

Last chance to be a part of this exciting adventure ! Live, interactive productions in NYC and Berlin with performances from 9 other countries. Buy tickets here for New York.

The Internationalists' 4th Annual AROUND THE WORLD begins simultaneously between New York and Berlin, with directors Brina Stinehelfer (DE) and Jake Witlen (US) teaming up for an adventure through the very depths of the Internet, with Skype Duet and Virtual Dinner Party.

Starting 7.30 PM, New York will host a festival of new work by directors Ana Margineanu (RO), Jeremy Lydic (US) and Doug Howe (US). First sit face to face via Skype with actors in Turkey, Iceland, Italy, Finland, Russia, Australia, Romania, Mexico and Greece for a Long Distance Affair.

Then you, the audience, will write the script for two actors in real time using social media technology in Make me talk or watch me drink. Be sure to stay for the after-party!!!

Long Distance Affair - featured in GUSMEN Magazine

2011-11-08T00:24:00.003-05:00

Our "Long Distance Affair" was featured in GUSMEN Magazine - check it out:

http://www.gusmen.com/2011/11/05/long-distance-affair

And watch our latest video featuring Aimée Horne, from Australia:

Long Distance Affair explores the question – what can you get from one person when all the information you get comes through a computer screen? 21 artists from 12 countries decided to take this virtual adventure. Be one of the 27 participants who get to take this journey and have 9 actors performing solely for you from their private homes.

"Long Distance Affair is NYC-based. Sort of. It's NYC-based for the audience. The premise is that each audience member will enter the space and have access to up to nine computer terminals. At each terminal, Skype will connect the audience member to a performer in another location - actors' countries include Australia, Mexico and Turkey. The audience member will then see (and probably interact with) a ten-minute performance at each terminal. In short, each performance will have only one audience member at a time" Lisa Parry, playwright, UK

Concept: Ana Margineanu

Directed by Doug Howe, Jeremy Lydic & Ana Margineanu

Choreography by Andreea Duta

Written by Alfonso Carcamo (Mexico), Ella Greenhill (England), Stacey Gregg (Ireland), Diane Lefer (US), Sigtryggur Magnasson (Iceland), Lisa Parry (England), Monica Raymond (US), Peca Stefan (Romania) & David L. Williams (US)

Performed by Radu Campean (Romania), Svandis Dora Einarsdottir (Iceland), Fatih Genckal (Turkey), Aimée Horne (Australia), Miguel Loyola (Mexico), Martina Marti (Finland), Lorenzo Montanini (Italy), Oksana Mysina (Russia) and Anastasia Papatheodorou (Greece)

Buy tickets here.
($18 for visiting 9 countries or $10 for visiting 3 countries)

Make Me Talk Or Watch Me Drink in next weekend's Around the World!

2011-11-07T11:00:00.000-05:00

What happens when a global network of strangers collaborate on an instant, completely unedited and uncurated script? Absurdity or profundity? The audience is the playwright, and online social networking her pen and paper. Two dudes with nothing much to say, each having just purchased a 40 oz. bottle of cool refreshing malt liquor, sit at a table. In front of them is a cell phone, and a computer screen. Dude #1 utters a sentence. The audience, observing these two guys via an online video streaming service, begin to send them text messages, tweets, emails, and facebook chats in a desperate, quick attempt to collaboratively dictate a script. The guys read the lines as they come in, in the order they come in. And if there are no lines coming in, they drink. The play is over when they finish their malt liquor.

Concept by Jeremy Lydic
Written by You, the Audience

Buy your tickets now for 'Around the World' on November 12th.
http://www.brownpapertickets.com/event/208192

THE KINGS by Julio Cortazar - translated in English

2011-11-03T12:38:00.002-04:00

If you love Cortazar as much as we do, you'll be happy to hear this:

Caridad Svich's translation of Julio Cortazar's prose poem for the stage THE KINGS will be published in the 2nd Brooklyn Rail Fiction Black Square Editions anthology edited by Donald Breckenridge forthcoming early 2012. The collection also features work by Charles Bukowski, Eugene Ionesco and Fernando Pessoa, among others.

We are so looking forward to it! Congratulations and thank you, Caridad!

Caridad Svich

Long Distance Affair - meet (some more of) the actors

2011-10-31T20:44:00.000-04:00

So, we are still in the middle of preparations for the Long Distance Affair :). The playwrights are still writing, the actors are still rehearsing. Meet some of them now and meet them all on November 12. Buy tickets here.

Concept: Ana Margineanu

Directed by Doug Howe, Jeremy Lydic & Ana Margineanu

Choreography by Andreea Duta

Written by Alfonso Carcamo (Mexico), Ella Greenhill (England), Stacey Gregg (Ireland), Diane Lefer (US), Sigtryggur Magnasson (Iceland), Lisa Parry (England), Monica Raymond (US), Peca Stefan (Romania) & David L. Williams (US)

Performed by Radu Campean (Romania), Svandis Dora Einarsdottir (Iceland), Fatih Genckal (Turkey), Aimée Horne (Australia), Miguel Loyola (Mexico), Martina Marti (Finland), Lorenzo Montanini (Italy), Oksana Mysina (Russia) and Anastasia Papatheodorou (Greece)

To reserve tickets (we have only 27 available) - email to info@theinternationalists.org

($18 for visiting 9 countries or $10 for visiting 3 countries)

DANCING NOT DEAD - Live online!

2011-10-30T11:46:00.000-04:00

The Internationalists is proud to bring you the NEW YORK presentation of
Dancing Not Dead by John Freedman
Winner of the 2011 Global Playwright Contest.

This engagement is a Live Theatre / Streaming Broadcast.
Sunday, October 30th 2011

2:00pm EST - Live Broadcast Online
Tune into www.theinternationalists.org

Directed by Doug Howe and Jeremy Lydic
Starring Orietta Crispino, Hank Kim and Sara Oliva

Or join us in the flesh
1:30pm EST - New York
TheatreLab, 137 West 14th St. bet. 6&7 Aves, New York, NY 10011

Admission is free, but guests must wear black. Seating extremely
limited.

This marks the 3rd city world wide that Dancing Not Dead has been
presented this year through the Internationalists Global Playwright
Initiative. Previous presentations include Berlin, Moscow, Bucharest.
Next up Full Production by Internationalists Director, Karina Bes in The
Hague.

The Internationalists production SEEWATCHLOOK in NYTIMES

2011-10-29T12:50:00.001-04:00

http://www.nytimes.com/2011/10/29/theater/seewatchlook-street-scenes-at-the-high-line.html

Farewell LIVIU CIULEI (1923 – 2011)

2011-10-25T23:36:00.001-04:00

The Romanian Cultural Institute in New York is deeply saddened to announce the passing of one of the masters of modern Romanian theatre and film, LIVIU CIULEI (July 7, 1923 – October 25, 2011). Ciulei died on October 25th in a clinic in Munich , Germany . He was 88. Long time collaborator and star of the film Forest of the Hanged, Victor Rebengiuc said he feels profoundly indebted to Ciulei: “Liviu Ciulei was a great personality of the Romanian theatre and film. He created schools of theatre and film, he created actors and wonderful performances. He was a good man and a great artist of incredible modesty.”

Born on July 7, 1923, in Bucharest , Romania , Liviu Ciulei was a theater and film director, as well as film writer, actor, architect, educator, costume and set designer. During a career spanning over 50 years, he had a seminal influence on Romanian cinema and theater. Known for his daring theatrical interpretations, he has distinctively marked the area of performing arts inside Romania and abroad. He was described by Newsweekas "one of the boldest and most challenging figures on the international scene."

Ciulei studied architecture and theater at the Royal Conservatory of Music and Theatre in Bucharest . He made his theater debut, as an actor, in 1946, playing Puck in the Odeon Theatre production of William Shakespeare'sA Midsummer Night's Dream. Soon afterwards, he joined the theater company of the Bucharest Municipal Theatre, later renamed Bulandra Theatre, where he directed his first stage production in 1957 — Rainmaker by Richard Nash.

Between 1956 and 1957, his theatre directing work was also reinforced by a series of consistent essays on directing and stage designing, in the context of a national media debate around the modernization of theatrical aesthetics. He continued to act for the stage and in films.

In 1961, Ciulei gained general acclaim and recognition as a theatre director for his version of Shakespeare's As You Like It. As a film director, he won the Crystal Globe for Best Director at the 1960 Karlovy Vary Film Festival with his second film, The Danube Waves, but it was with his third feature, Forest of the Hanged, that he and Romanian cinema reached widespread international recognition, receiving the Best Director Award at the 1965Cannes Film Festival. This was to be his last feature film as a director. However he continued to appear in several films, as an actor, until the end of the 1970s.

Ciulei was the artistic director of Bulandra Theatre for more than 10 years. In the 70s he also worked in several European countries, the United States , Canada and Australia . In the U.S. , he first directed Leonce and Lena at The Arena Stage in Washington D.C. , in 1974. During the 70s he returned in the U.S. for several extremely notable productions at The Arena Stage, The Juilliard Theatre Centre, Circle in the Square, The Public Theatre and The Acting Company. As an example of Ciulei’s mastery, in his review of Ciulei’s staging of Hamlet at The Arena Stage in 1978, New York Post critic Clive Barnes notes: “The man is a genius – a word to be sparingly used. He sees “Hamlet” as a pattern of wills – and grasps instantly that this classic Elizabethan revenge tragedy, a popular dramatic form of Shakespeare’s day, derives its greatness from the fact that destroyed hero is never actually revenged."

In late '70s he was marginalized by the communist regime and transferred to work at the Sahia Film studio, as a documentary filmmaker. In 1980 he fled Romania with a motor vessel during the filming of a documentary about the life of Romanian sailors.

After his arrival in the U.S. , Ciulei was the artistic director of the Guthrie Theater in Minneapolis , Minnesota , from 1980 to 1985, creating memorable shows such as The Tempest, Requiem for a Nun or Peer Gynt. During this time, the Guthrie won a Tony Award for its activity, in 1982.

Don Shewey profiled Ciulei (and noted that his name is pronounced "Leave-you Chew-lay") for the New York Times in 1986: "In 1972 at the Bulandra Theater in Bucharest, he presented a production of The Inspector General, Nikolai Gogol's satire of bureaucratic government, that was taken rather too personally by Romania's bureaucratic government. The production was closed by censors, and Ciulei left the position he'd held for nine years as the company's artistic director. When he was hired in 1980 to run the Guthrie Theater, one of the oldest and largest regional theaters in America, he inaugurated his regime with a startling production of The Tempest where Prospero's kingdom was presented as an oasis surrounded by a moat of blood, in which floated such cultural artifacts as a Venus de Milo, the Mona Lisa, and a clock without hands. Last summer, having tendered his resignation after only five years as the Guthrie's artistic director, Ciulei mounted his bitter, frightening Midsummer Night's Dream in which Bottom's ragtag troupe of players is humiliated by the indifferent response of its royal audience – a reflection, perhaps, of Ciulei's own disappointment at the lack of enthusiasm for adventurous theater in middle America. 'I think there is, in this country, a certain prudence or refusal to be troubled, much encouraged by TV,' he commented. 'Many people still want the theater to be like a cool lemonade when it's hot.'"

Beginning with 1986, he taught at Columbia University and New York University . He kept staging work in the U.S. at The Guthrie, at The Arena Stage, at the American Repertory Theatre, Seattle Repertory Theatre,Lincoln Center , The Lyric Opera in Chicago and also in Europe (where he did mostly operas in London ,Amsterdam , Florence or Cardiff ).

After the Romanian Revolution in 1989, Ciulei returned to Romania and directed a series of stage productions that have been both publicly and critically acclaimed. He was named Honorary Director of the theatre he has always loved the most, Bulandra, as a token of appreciation and respect for his entire career. Besides being the costume and set designer of the majority of his own productions, as an architect Ciulei contributed decisively to the rebuilding of the auditorium of Bulandra Theatre, as well as to important architectural work of other theater buildings. In 1996, UNITER (the Romanian Theatre Union) awarded its annual prize to Ciulei, in recognition of his overall work.

Liviu Ciulei passed away at age 88.

Honoring this outstanding Romanian personality, the Romanian Cultural Institute in New York and the Film Society of Lincoln Center will present a Liviu Ciulei Retrospective as part of the 6th Annual Romanian Film Festival in New York , which will take place between November 30 – December 6 at the Lincoln Center . New York audiences will get a chance to see, for the first time in the U.S. , in new prints, all the three films Liviu Ciulei directed – Eruption, The Danube Waves and Forest of the Hanged.

[Image: Liviu Ciulei starring in his 1964 film Forest of the Hanged]

ROMANIAN CULTURAL INSTITUTE IN NEW YORK

200 East 38th Street (at 3rd Avenue ), New York , NY 10016

Tel: 212-687-0180 - Fax: 212-687-0181icrny@icrny.org; www.icrny.org

Lisa Parry: Long Distance Affair

2011-10-25T09:01:00.000-04:00

Lisa Parry: Long Distance Affair: What is theatre? Is what I'm writing theatre? What should theatre be? These three questions have been swirling around my mind lately. I'm ...

Dancing Not Dead

2011-10-24T12:27:00.000-04:00

(the journey of a play Around the World)

Early in 2011, The Internationalists launched their first Annual Global Playwriting Contest. 125 plays from 18 countries were submitted. The selection process was difficult, but John Freedman's 'Dancing, not Dead' was the ultimate winner. In the past three months, his play has been presented (workshop or staged reading) in Berlin, Moscow and Bucharest. And it will be fully staged in January in The Hague by Karina Bes. On 30 October it will also be presented in NYC – a live theatre/broadcast hybrid, directed by Doug Howe and Jeremy Lydic. At the end of the journey, we will sit down with John over a virtual coffee and ask him how the journey was for him, but for now, I asked Doug & Jeremy, who are currently in rehearsals, some questions.

Ana: When you first read the Dancing, not Dead what impressed you the most?
Doug:‘Dancing, not Dead’ poses large questions without attempting to definitively answer them. Though the setting is simple and domestic, the themes and issues that pervade the text reach well beyond the home and across national borders. I was also impressed that John Freedman had written such strong and engaging female characters, especially those advanced in years. Their internal and external conflicts are both compelling and heart wrenching.

Jeremy: A tragic death has happened, and yet the characters in this play are able to isolate and eliminate their empathetic response to the deceased, in order to pull focus to their own issues. I think that to write a play about someone who has just died, committed suicide rather, or was murdered, even, and make it entirely about the self-absorption of the survivors, is a challenging glimpse into human nature.

Rehearsal for Dancing Not Dead in Moscow with Oksana Mysina & Rimma Solntseva

Ana: What scares you the most about this play?

Doug: Nothing specific scares me about the play, but the constant challenge of honoring the text while putting it up on its feet is ever present. As we are only rehearsing for a limited time, we want to be able to do justice to the writer’s intentions while simultaneously making the performance engaging for the audience. Fortunately, we have some very talented and insightful actors, so my fears are minimal.

Jeremy: This is a play about two women whose game is bicker and banter, and yet a rule between them is to not let the game elevate to a "dramatic" level. And they refuse to really listen to each other. So, you have two strong women, who argue without blowing up, who don't really listen to each other. It defies typical drama in many ways, and the challenge is to keep this dialogue compelling to an audience.

Dancing Not Dead in Berlin, directed by Jake Witlen

Ana: Why have you chosen to co-direct this presentation?

Jeremy: I believe that Doug and I both have different strengths as directors, and I was really interested in seeing how his particular strengths, especially the ones I don't think I possess, combine with my particular process. I think the process will be greatly enhanced by this collaboration. I think Doug is incredible at talking about the play that exists, and I am not. I have a hard time engaging with the play until we start discovering what it can be through experimenting on our feet. So, I'm interested in seeing how our dynamic may or may not shift once we're up on our feet.

Doug: I am thrilled to be working with Jeremy. Every time I’ve seen one of his productions, I’ve always thought about how much fun the actors are having. Jeremy possesses a true sense of play and adventure, and encourages actors to really breathe life into their roles. I hope our individual talents inspire us both to become better directors. From our work together thus far, I am confident about the outcome of our pairing. Having an equal next to you in the room to bounce ideas and experiments off of is a real joy.

John Freedman with actresses Oksana Mysina and Rimma Solntseva after the Moscow reading of Dancing Not Dead

Ana: You also intend this presentation for online audience - why? how do you think the relationship between performance and audience will change depending on where this audience is present?

Doug: In this age of advanced technology, Jeremy and I were interested in experimenting with a live theatre/broadcast hybrid. Though the live performance is our primary focus, we wanted to create a more engaging virtual viewing experience for our online audience. Instead of the typical static wide-shot, we want to produce a more cinematic, interactive experience. We have spoken at length about how the two experiences differ, and we are specifically creating two different perspectives for the people present in the room and those on their computers. Like the three characters in the play, we want to offer both audiences varying points of view.

Jeremy: I believe that the online audience is always secondary when you include them in a live performance event. And, rightfully so. But since I do not believe that viewing performance online is very interesting, I'd like to try to direct this piece for them. I wouldn't say, however, that at this point we are directing more for the online audience. Basically, we're trying to create two different experiences for each audience. Rather than the audience just getting that back of the house camera view, which is super-boring, especially on a 240p window, we want to give them a different experience, an alternative to those in the live audience. In some ways, we're trying to think of it in filmic terms. Viewing theater online will always be more akin to film, so why not take advantage of that?

Dancing Not Dead in Bucharest, with Maria Ploae and Katia Pascariu

Ana : Watching online the previous presentations of DND in Berlin, Moscow and Bucharest had any influence in the way you perceive the play?

Jeremy: I don't want to watch any of those until after our performance is done. I don't like to be influenced in any way by what has been made in recent history.

Doug: One of the objectives of The Internationalists Playwriting Contest was to present the play in multiple locations across the globe. Each culture is going to get something different out of the experience, and to have the capability to witness those performances has been informative and inspirational. Even when it was performed in a language I don’t speak, I felt connected to my fellow company members around the world who were presenting it. It’s also been helpful to discuss successes and failures with the other directors who have already presented the play. Even though the presentation in New York is starting from scratch, I feel uplifted by the presentations done before, and am much better prepared to tackle this complex and challenging play.

Well, I hope you all won’t miss the Dancing Not Dead in NYC (even if you are not in NYC, you can still log online and watch it)! So, prepare yourself for a bit of adventure – this play traveled a lot this year, it would be nice for her to see familiar faces in NY.

Dancing Not Dead

Written by John Freedman
Directed by Doug Howe and Jeremy Lydic
Starring Orietta Crispino, Hank Kim and Sara Oliva

Sunday, October 30th, 2011 at 1:30pm - Live in NY; 2:00 live online
TheatreLab, 137 West 14th Street, New York, NY 10011

Limited seating, email to reserve your place to: info@theinternationalists.org

NIGHTLANDS

2011-10-23T12:27:00.000-04:00

Sylvan is "empathic!" Tamilla is "inventive"! Rachel Leslie is "powerful"! Polly Lee's "coiffed discontent evokes Julianne Moore in “The Hours” and “Far From Heaven” " and "a versatile supporting cast sprints through a variety of races and genders... “We are in history now,” one character says as the simmering tensions finally burst loose near the end. When “Nightlands” is at its strongest, it reminds us that that statement is always true." said The New York Times. So, I had to ask Tamilla Woodard (congrats, Tamilla, by the way) some questions.

Polly Lee and Rachel Leslie, Photograph: Carol Rosegg

Photographs: Carol Rosegg

Ana: When you first read the play (and while working on it's development) what was your main interest/ attraction?

TAMILLA: The section of the play called the RIOT was from the beginning a very curious and attractive element of the dramatic structure. I took a lot of clues about how the play works from how the play structure gets destroyed in the Riot. I love that destruction. I like it when the rules are subverted.

Ana: And what were you most afraid of?

TAMILLA:I was afraid about my choice to have such a paired down, sparse environment andstyle. I am attracted to sparten approaches in general. Sylvans language islush, rich, The situation is very dramatic. I wanted to make a counter balanceto that so we as an audience could really hear, really see, really feel insteadof just being told. A great distance exists between these characters. That'ssomething our audience can also feel. That great gulf. That loneliness. Thatdistance between human beings. Ironically, the most emotionally impactfulsection of the production is the Riot. Because we don't try to act the riot. Orrather, we try and then we give up and then just commit to being. I was afraidthat I was not giving enough room to the chaos, too. Chaos can require THINGSand we don't have much stuff-- just bodies and voices in space. Just two chairsin the midst of a wide white canvas. Every single gesture made in front of thatcanvas gets picked up and amplified. Beautiful things and very messy things. I'mafraid of the messy things.

Hubert Point-Du Jour and Michael Milligen, Photograph: Carol Rosegg

Photographs: Carol Rosegg

Ana:Can you tell me a bit about therole that – the absence of objects/ presence of sounds - have in theshow?

TAMILLA:I wanted to give the audience more to do. I want them to lean into the play,lean forward, add their own imagination. Acknowledge that this is not reallife, nor are we trying to convince anyone of that. Perspective is veryimportant as a theme. Who gets to tell a story, who owns the narrative? Thisway the audience has participated in the story making to by filling in moreblanks than they normally have to do.

Ana:What is the connection between1964 and 2011?

TAMILLA:Ohh. We are now in a very combustable time. Riots breaking out everywhere--protests. The old order is being challenged in the same way that it was beingchallenged during the Civil Rights Movement. Like IVY says at the end of theplay-- We are in History Now. And this is History making itself around theworld.

Polly Lee and Micheal Milligan. Photograph: Carol Rosegg

NIGHTLANDS

By Sylvan Oswald

Directed by Tamilla Woodard

with
Linda Marie Larson, Polly Lee, Rachel Leslie, Michael Milligan,
Hubert Point-Du Jour

design
Jim Findlay, Stephen Arnold, Hillary Charnas, Emily DeAngelis

psm Michal V. Mendelson asm Matt Hundley prod mgr Robert Ingram
choreographer Nicco Annan asst set design Rachel Schapira
casting Paul Davis/Calleri Casting press rep David Gersten & Associates

THRU OCTOBER 29 ONLY!
8.30pm
Wednesdays thru Mondays

at HERE 145 6th Avenue
(enter on Dominick, 1 block south of Spring)

$25
Sundays pay-what-you-will (at the door only)
tickets: www.here.org or 212.352.3101
info/group rates: 646.336.8077

more info all the time: www.newgeorges.org

This project received support from Full Stage NYC at New Dramatists, a program made possible by New York City’s Theatre Subdistrict Council and Time Warner.
This production is a part of HEREstay, HERE’s curated rental program, which provides artists with subsidized space and equipment, as well as technical support.

Long Distance Affair - meet (some of ) the actors

2011-10-22T23:27:00.000-04:00

So, we are in the middle of preparations for the Long Distance Affair. The playwrights are writing, the actors are rehearsing. Meet some of them now and meet them all on November 12. Buy tickets here.

Directed by Doug Howe, Jeremy Lydic & Ana Margineanu

Choreography by Andreea Duta

Written by Alfonso Carcamo (Mexico), Ella Greenhill (England), Stacey Gregg (Ireland), Diane Lefter (US), Sigtryggur Magnasson (Iceland), Lisa Parry (England), Monica Raymond (US), Peca Stefan (Romania) & David L. Williams (US)

Performed by Radu Campean (Romania), Svandis Dora Einarsdottir (Iceland), Fatih Genckal (Turkey), Aimée Horne (Australia), Miguel Loyola (Mexico), Martina Marti (Finland), Lorenzo Montanini (Italy), Oksana Mysina (Russia) and Anastasia Papatheodorou (Greece)

To reserve tickets (only 27) - email to info@theinternationalists.org

($18 for visiting 9 countries or $10 for visiting 3 countries)

Around the World 2011

2011-10-20T14:33:00.000-04:00

Be a part of this exciting adventure for our 4^th ‘Around the World’. Live,interactive productions in NYC and Berlin with performances from 9 othercountries. Buy tickets here for New York.

SKYPE DUET

Berlin 20.00 – New York 2:00pm

(Berlin - 20/16 or 12/8 Euros // NY - $10)

Performed by live actors simultaneously in New Yorkand Berlin through Skype, one woman tries to relate and connect to the worldaround her, using a laptop as the mode in which she communicates; a quest forhuman connection in the modern world.

Touching, funny, and familiar, this piece examinescomputer-mediated communication and the human need for connection- theevolution of humanity through technology. Through its inventive use of Internettechnology, the piece simultaneously comments on its own theme and explores theartistic and personal applications of this technology, as it is more fullyintegrated into our communications, relationships, lives. Winner of the Juryprize at 100° Festival Berlin 2011.

Concept & Artistic Production by BrinaStinehelfer / Per Aspera Productions

Created and Performed by Brina Stinehelfer andArlene Chico Lugo

Co-Direction by Zoey Martinson and NikolausSchneider

Technical Direction by Nikolaus Schneider

Video by Agents of Change, Matthias Schöbe

VIRTUAL DINNER PARTY

Berlin 21:30 // New York 3:30pm

(20/16 or 12/8 Euros // - $18 food & drink or $10)

It's the last night of the world and you're invitedto a party! The Virtual DinnerParty is anopportunity to share a real experience from a virtual setting between New Yorkand Berlin. Audience and actors mingle together, sharing food and laughter,while the other side of the table sits 4000 miles away. The table becomes thestage, and together we will connect on what it is that we have, and what it iswe stand to lose.

Audience members will be treated to a theatricaldinner where you are the guest of honor! The Dinner Table seating ticket includes a Three Course Meal including:Appetizers and Snacks, Potato Leek Soup, Cheese Course, Desert and Plenty ofwine! Dinner Table Seating is limited. Please reserve by emailing: info@theinternationalists.org

Concept and direction by Jake Witlen

Written by Joy Tomasko, Eric Pfeffinger, CaridadSvich, Eric Sanders, Bert Vandercastele and Peter J Roth

LONG DISTANCE AFFAIR

(make possible an impossible trip)

New York 7:30pm

($18 for 9 visits or $10 for 3 visits)

Imagine that you have a window that allows you tosee the private homes and intimate lives of people in 9 different countries.You don't need a plane ticket. You don't need a magic carpet. Travel withoutleaving New York. Connect. Fall in love. Make possible an impossible trip.

Long Distance Affair explores the question – what canyou get from one person when all the information you get comes through acomputer screen? 21 artists from 12 countries decided to take this virtualadventure. Be one of the 27 participants who get to take this journey and have9 actors performing solely for you from their private homes.

Concept by Ana Margineanu

Directed by Doug Howe, Jeremy Lydic and AnaMargineanu

Choreography by Andreea Duta

Written by Alfonso Carcamo (Mexico), Ella Greenhill(England), Stacey Gregg (Ireland), Diane Lefer (US), Sigtryggur Magnasson(Iceland), Lisa Parry (England), Monica Raymond (US), Peca Stefan (Romania)& David L. Williams (US)

Performed by Radu Campean (Romania), Svandis DoraEinarsdottir (Iceland), Fatih Genckal (Turkey), Aimée Horne (Australia), MiguelLoyola (Mexico), Martina Marti (Finland), Lorenzo Montanini (Italy), OksanaMysina (Russia) and Anastasia Papatheodorou (Greece).

MAKE ME TALK OR WATCH ME DRINK

(New York 9:30pm)

($10 includes After-Party with drinks)

Whathappens when a global network of strangers collaborate on an instant,completely unedited and uncurated script? Absurdity or profundity? The audienceis the playwright, and online social networking her pen and paper. Two dudeswith nothing much to say, each having just purchased a 40 oz. bottle of coolrefreshing malt liquor, sit at a table. In front of them is a cell phone, and acomputer screen. Dude #1 utters a sentence. The audience, observing these twoguys via an online video streaming service, begin to send them text messages,tweets, emails, and facebook chats in a desperate, quick attempt tocollaboratively dictate a script. The guys read the lines as they come in, inthe order they come in. And if there are no lines coming in, they drink. Theplay is over when they finish their malt liquor.

Concept by Jeremy Lydic

Written by You, the Audience

-----------------------------------------------------------------------------------

WHEN

12 November 2011

TIME

Berlin: 20.00 – 23:30

New York: 2:00pm – 5:30pm

7:30pm - 11:30pm

WHERE

Berlin: Kunsthaus Tacheles, Goldene Saal, Oranienburger Str. 54-56a 10117

New York: TACT Studio, 900 Broadway, Suite 905, New York, NY 10003

TICKETS

CLICK HERE TO PURCHASE TICKETS FOR NYC

Berlin:

General Seating: 12/8 Euro

Dinner Table Seating: 20/16 Euro includes food & drink

New York:

Skype Duet $10

Virtual Dinner Party $18 includes food & drink

$10 general seating

Long Distance Affair $18 includes a visit to 9 countries

$10 includes a visit to 3 countries

Make Me Talk, $10 includes after-party

Or Watch Me Drink with drinks

Day or Night Pass $25 includes premium seating

for either 2:00 or 7:30 program

Event Pass $35 includes premium seating to all events

2011-10-20T12:10:00.000-04:00

What do you see when you look at what you watch?

SEEWATCHLOOK IS EXTENDED!

Huge Crowds Demand Additional Two Week Run!
EXTENDED through October 30th (4 Extra Performances)
Saturdays and Sundays at 6pm
Gávea Filmes in association withMagic Futurebox and The Internationalists

Presents

A World Premiere Public Play
Created and Directed by Award-Winning, MultimediaBrazilian Artist Michel Melamed

What do you see when you look at what you watch? With a grant funded by the Brazilian government, award-winning, multimedia Brazilian artist Michel Melamed has created SEEWATCHLOOK, a world premiere public play of short poetic and comic scenes to be held on the corner of Tenth Avenue and 17th Street and viewed (or SEEWATCHLOOKED) from the elevated stands and windows of the High Line’s 10th Avenue Square.

This is the very first public performance of its kind designed specifically to be presented for visitors to the High Line, and a unique repurposing of that public space. Michel worked with a cast of 12, including Alicia Giangrisostomi, Bruna Linzmeyer, Camila Campos, Emily Carpenter, Everett Goldner, Isabelle Zufferey Boulton, Joyce Miller, Juan Castano, Marcello Padilla, Noah Schultz, Sara Pauley, Tjasa Ferme, and Lemon the dog.

Melamed and his performers present everyday slices of lives, but with a twist. A diversity of scenes serve to activate the ideologies and curiosities of the viewer. Cultures, politics, sexuality, religion, art and more, are a few of the themes represented among scenes which pique our interest with events which are just slightly out of place. SEEWATCHLOOK explores the questions: How is the city a stage? What is theatre and what is not? Are the performers actors or citizens? What is the boundary between a show and reality? Is it in the eye of the spectator-- In the eyes of those watching? Seeing? Looking?

SEEWATCHLOOK is a brand new verb. How does one seewatchlook the street corner, people, situations, life - anything? It all depends on who is seewatchlooking and how they seewatchlook. It is in the eye of the beholder. Each one of us with our own creativity, affection and reason has invented the world around us, giving value or transvaluing things. The object changes according to the observer. What do you see when you look at what you watch?

Michel Melamed is also using his experience creating SEEWATCHLOOK to film a documentary for the Brazilian cable TV channel “Canal Brazil” about the challenges of developing a new show in New York City. The documentary will include a portrait of the New York theatre scene, with interviews from some of New York’s most well-known theatre professionals. To date, Mr. Melamed has interviewed Estelle Parsons, Richard Schechner, Richard Foreman (Ontological-Hysteric Theater), Jim Nicola (NYTW), Vallejo Gantner (PS 122), Kristin Marting (Here), John Collins (Elevator Repair Service), Martha Wilson (Franklin Furnace), Peter Goldfarb, Kevin Cunningham (3LD), Anita Durst (Chashama), Alison Knowles, Papo Colo (Exit Art), Vito Acconci, Linda Montano, Anne Cattaneo, and Bill Bragin (Lincoln Center), to name a few.

Brazilian director, playwright and actor Michel Melamed has performed internationally (Paris, Berlin, New York, Rio) and is known for his cutting-edge theatrical work. He has been awarded the “Funarte Performing Arts Residency” grant funded by the Brazilian government to develop a new play in New York City, inspiring Melamed’s fifth return to the New York theatre scene with SEEWATCHLOOK. Michel's Regurgitophagy premiered in the U.S. at Mabou Mines/PS 122 in 2006 and then again at The Public Theatre/Under The Radar Festival in 2008. He returned as a member of the Lincoln Center Directors Lab in 2007 and in 2009 to work with The Internationalists Directors Collective.

SEEWATCHLOOK is produced by Michel Melamed and Magic Futurebox.
Director: Michel Melamed;
Lighting Designers: Scott Bolman and Beatrice Rocch;
Digital Conception: Suzana Apelbaum; Sound Designer: Simone Giuliani;
Assistant Director/Stage Manager: Gabriel Bortolini;
Props: Gabriel Bortolini and Michel Groisman;
Production Assistants: Graziela Meyer and Raquel Bordin;
Consulting Producer: Meiyin Wang;
Publicist: Paul Siebold;
Graphic Design: Olivia Ferreira and Pedro Garavaglia (Radiographico Studio);
Photography: Debby Goldman and Michel Melamed.

SEEWATCHLOOK is free of charge and open to the public.
Performances will be held on Saturdays & Sundays at 6pm from October 6-30, 2011.
Performances will not occur if it is raining.
The High Line’s “10th Avenue Square” is located at 10th Avenue and 17th Street in New York City. Elevator and stairway access to the venue is located at 16th Street.

Dancing Not Dead -- on its way to rehearsal!

2011-08-16T03:50:00.000-04:00

Tomorrow starts the beginning of a very exciting process for the Internationalists, and I (Jake, in Berlin) am incredibly happy with the work that is coming together here. It has been a bit of a challenge, as summer in Berlin turns out to be a time when absolutely no one is truly around. Therefore, finding spaces to rehearse, people to come to the shows, even actors to show up for auditions -- all of it together has been a challenge to say the least. But now, we are less than a week away from the production, and all systems are go!

The cast has come together nicely. They are a talented group whom I got to audition about two weeks ago, and who have been living with the script ever since. They are:

Eva-Maria Kurz: Mother

Paula Koch: Ellen

Wil Röttgen: Victor/Alexanders/Georges

The cast has a great deal of experience both in Germany and abroad,

with directors I deeply admire. Their skill and intellect should offer a very unique look into this play. I am particularly interested in exploring what table work will be like with a German contingent of actors -- things are so literal and exact here, I wonder how they will approach a play that has some big questions attached to it, such as "Dancing, Not Dead". Tomorrow we will begin to see.

For casting, we had a very nice set of conversations and I listened to each of them read through a selected monologue several times. Because I was also looking for performers for the "Around the World" programming, I was more interested in personalities than anything else. This particular cast, however, I feel fits these roles absolutely perfectly.

Eva-Maria and I spoke via phone from Italy, but her energy and excitement for the role is really wonderful. And her stark German accent should lend a certain power to the role. Wil is a powerhouse actor, also with a German accent, but will be able to fit between the three roles well, and I think he has a certain sensitivity that should play nicely into these men. Finally, Paula is a classically trained actor, with nary an accent to be heard, and I think her take as a quiet and subtle daughter will be interesting to see develop. Her audition was understated, and I hope that during our rehearsals we'll be able to keep the intention she feels for this character underneath her words, but find more active ways for her to be present in the scenes.

I will be rehearsing for a bit longer than I would normally rehearse a reading, if only because I want to make sure the language is clear and concise for the audience, and especially the Internet audience, whom I think there will be a lot.

Tomorrow the rehearsals start at 15.00 Berlin time, and we'll see where things take us!

NILS' FUCKED UP DAY @ FringeNYC'11 - TRAILER 3

2011-08-05T15:33:00.001-04:00

2011-08-05T15:23:00.005-04:00

Nils's Fucked Up Day

The Internationalists partner Romanian playwright Peca Stefan - is back in NYC with a show!

Described by some critics as the "most obscene play in the Romanian theatre", Nils' Fucked Up Day by Peca Ştefan is a sarcastic, trashy, punk existentialist take on the fucked up choices we have in this fucked up world. It is outrageously performed in English & Ro-English by some of the best young actors in Bucharest. Ro-English is a form of slang which mixes Romanian words with English… cursing. However, the show is a guilty fun plea for happiness.

Introduced, in U.S. premiere, by FringeNYC ’11 – at Dixon Place. (161A Chrystie Street (Rivington Delancey) F,V to 2nd Avenue; B,D to Grand; J,M,Z to Bowery)

There are ONLY 5 performances in NYC this August!!! Don’t miss them!

SUNDAY AUGUST 14 @ 4.15 PM

MONDAY AUGUST 15 @ 7 PM

THURSDAY AUGUST 18 @ 7.45 PM

SATURDAY AUGUST 20 @ 4.15 PM

MONDAY AUGUST 22 @ 3.45

To see info on the play and buy tickets visit the official website: www.nilsfuckedup.com

And check out the play’s trailer here!

Ziua futută a lui Nils, a play written by Peca Ştefan in 2002, has quite a reputation in the Romanian theatre. It was labeled, by elder critics, as being „outrageous”, „obscene”, „vulgar”. At the same time the play has been widely acknowledged by theatre professionals, who saw it as a rebirth of new Romanian playwriting. The text deals with language, Romanian (and global) hypocrisy, and a form of updated, post-modern existentialism in a hyper ironic way, that’s both challenging and guilty pleasure fun. Nevertheless, the play is an unconventional plea for happiness. For six years it was a taboo to stage this play in Romania, although it won one of the most important new playwriting awards (dramAcum, 2002) and was presented in highly acknowledged festivals such as The New Writing Bienalle in Wiesbaden, Germany (2006). In 2008 the MONDAY Theatre @ Green Hours (Bucharest) dared to produce it, under the stage direction of the author himself. Ever since, the show has been a sold out hit, in its’ Romanian version. In 2011 Peca, an internationally acclaimed playwright (Juilliard Finalist 2010, one of the 5 Authors in the Berliner Stuckemarkt 2010 (Germany), Winner of Heidelberg’s Stuckemarkt Innovation Award 20007 (Germany)), has rewritten the play so we can share the performance with international audiences (both in Bucharest and abroad). Nils’ Fucked Up Day (the new English title) is now a mix of Romanian and English, powered by one of the best VJ’s in Romania (Cinty) combining multimedia, interactivity and a very inciting way to look at the world and its stereotypes.

Teatrul LUNI de la Green Hours (MONDAY Theatre @ Green Hours) is probably THE PLACE to go if you want to see the most exciting indie/off theatre productions in Romania. With a non-stop season since 1997 – the MONDAY Theatre debuted some of the best young actors, directors, stage designers and playwrights in the new wave of Romanian theatre. After presenting two very successful plays by Peca Ştefan in FringeNYC’ 07 (The Sunshine Play and Bucharest Calling), the company returns for the 2011 edition of the International New York Fringe Festival with “Nils’ Fucked Up Day”.

Dancing Not Dead -- Auditions in Berlin

2011-08-04T08:16:00.005-04:00

Casting has begun for the Internationalists "Dancing, Not Dead" in Berlin. It has been a fascinating new experience to create work in a new culture (coming from New York, things definitely work a bit differently here). Trying to make a piece in the summer turns out to be a bit more challenging than originally expected -- the whole town, it seems, has gone on vacation. But overall, things are coming together quite nicely.

Initially, I was worried by the lack of responses one receives immediately. In New York, seconds after posting something in Backstage, Playbill etc., your inbox is generally flooded with emails of headshots, resumes, introduction letters, and sometimes promises of a first born baby, should you choose them to cast. Here in Berlin, it's a bit more laid-back, and after that initial worry, I was pleasantly surprised by the applicants. People approached the auditions in a professional and interested matter, and it gives me great hope for what is to come with this project.

The auditions went very well, and I'm pleased to say that the cast is formulating now (a few more meetings and introductions to come) and all should be set!

Please check back in regularly for updates about our Playwright competition, as well as director blogs about the process!

John Freedman Wins Internationalists' First Annual Playwriting Contest

2011-06-15T08:51:00.003-04:00

Dancing, Not Dead is a play about the price of truth and the cost to those who seek to own it. Ellen and her mother return from Alexander’s funeral. Ellen is broken, wondering why her father has killed himself. In contrast, her mother is buoyant, recollecting memories of her favorite ballerina. Petty banter reveals a deep conflict between the two, as well as with the world they inhabit. In this family, no one backs down - they consider this "being strong." But when does strength cross the line from constructive to destructive?

Writer John Freedman is a theatrical pioneer who has always sought to further the understanding of people of different cultures, and to explore those territories where understanding is virtually impossible. His particular interest lies in the gray areas where consensus does not happen, and how, as human beings, we respond to that. As a boy who grew up during the Cold War, and an American who has resided in Russia since before the collapse of the Soviet Union, John’s unique experiences have shaped his appreciation for the difficulties that nations and individuals have in overcoming habit, instinct, prejudice and tradition.

His play, Dancing, Not Dead is a direct response to what he’s seen occur in the world political arena in the last decade – the use of lies to further one’s agenda; the refusal of people and nations to pause and reflect; the belief that shouting louder and hitting harder is enough to make a wrong right; the conviction that appearances of youth and beauty are substantive; the danger that fascism will arise almost out of nothing.

Dancing, Not Dead is also a response to what he sees happening to individuals whose fate it is to live in such times – we have become self-defensive, abusive and manipulative; we worship before the god of youth; we are slaves to our dreams, rather than masters of them; we are lacking in trust and bereft of the talent to love or be loved. Might this be another explanation for fascism? Is fascism only a political phenomenon, or is it possible that it grows out of our most intimate, personal relationships?

Whether the answer to these questions is yes, no or maybe, the one constant that affects us all at every moment is the impulse and the need for love. What role do the human emotions of forgiveness, generosity of spirit and love play in the contemporary world we inhabit? Dancing, Not Dead does not answer the questions raised here, but poses them in a series of ways. No doubt, every question raised by this play, as well as every response it might prompt, will be seen in a different light, depending upon the culture in which it is approached, and that is why, whether through the genre of essay, criticism, translation or play script, John Freedman’s work truly exemplifies The Internationalists’ spirit.

Biography

“Theatre should encourage us to make discoveries. It should disturb us. Rouse us. Irritate us. Make us realize what sort of world we live in.”

- John Freedman in ‘Russia Now’; 3 June 2009

John Freedman is an American writer who has lived in Moscow for over 20 years. He was born and raised in the Mojave Desert in Southern California. In 1980, just after graduating with a B.A. degree in Russian language and literature at U.C. Irvine, John attended a production of Nikolai Erdman’s The Suicide at Trinity Rep, which sowed the seed for his future. He completed a master’s degree in 1983 at George Washington University, and in 1988, while conducting research for his doctorate, he travelled to Moscow. What unfolded was a love story to rival all the classics he was studying: the following year he married the Russian actress, Oksana Mysina.

After receiving his Ph.D. from Harvard, John moved to Russia where he has been the chief theatre critic at The Moscow Times since 1992, a monthly columnist for Plays International since 1994, and has written or edited and translated nine books about Russian drama. He has translated over three dozen Russian plays that have been performed in the United States, Canada, South Africa, Australia and England, as well as published in numerous anthologies and journals. In 2006 under the general title of “Provoking Theater” he made two documentaries for Russia Today, an English-language, international Russian television company. He has been a partner of Philip Arnoult’s Center for International Theatre Development since 2000. Since 2001, John has also unofficially served as a Jack-of-All-Trades in the founding and running of his wife’s theater, the Oksana Mysina Theatrical Brotherhood. In 2010, Double Edge Theater in Ashfield, MA., produced a play, The Firebird, that John co-wrote with Jennifer Johnson and the theatre’s cast.

Playwriting Contest Finalists

2011-03-28T08:50:00.010-04:00

The Internationalists are thrilled to announce the 7 finalists in our first annual playwriting contest, selected from over 125 plays from 18 countries.

2023 by Lisa Parry (Cambridge, UK)

Dancing, Not Dead by John Freedman (Moscow, Russia)

The Owl Girl by Monica Raymond (Cambridge, MA, USA)

Into the Water by Ella Greenhill (Liverpool, UK)

Shibboleth by Stacey Gregg (Belfast, Ireland)

Spake by David L. Williams (New York, NY, USA)

Termitary by Diane Lefer (Los Angeles, CA, USA)

Join the World Theatre Day Coalition!

2011-03-14T12:49:00.004-04:00

The Internationalists invite you to join the 2011 NYC World Theatre Day Coalition! The mission of the New York City World Theatre Day Coalition is to create a widespread awareness of World Theatre Day by connecting the NYC theatre community to other theatre communities around the world, and encouraging audiences in NYC and beyond to celebrate with us by attending the theatre. The Coalition is comprised of representatives of theatre companies and advocacy groups whose common goal is to promote World Theatre Day through coordinating events and distributing the WTD message.

World Theatre Day was created in 1961 by the International Theatre Institute (ITI), and is celebrated annually on March 27 by over 90 ITI Centers and the international theatre community. National and international theatre events are organized to mark this occasion, which center around the World Theatre Day International Message. At the invitation of ITI, a figure of world stature shares his or her reflections on the theme of Theatre and a Culture of Peace. In past years the message has been given by visionaries, such as Vaclav Havel, Ellen Stewart, Augusto Boal, Jean Cocteau and Peter Brook.

To become a member of the NYC World Theatre Day Coalition we request that you:

Read and/or distribute the International Theatre Institute’s World Theatre Day Message during your performances March 21st – 27th in a curtain speech or in the program. Or, if you do not have a show you can share the message via e-blast and social networking. (I will send you a one-sheet with both this year’s U.S. and International World Theatre Day messages.)

Post a link to our World Theatre Day website (www.nycwtd.com) on your website so your audience can find out about other ways to celebrate.

If you are in a producing during the week of March 21^st, give a ticket discount in honor of WTD to be posted on our website. The discount can be anything from $1 off to half price tickets; it’s up to you! Please use the code NYCWTD if you can.

In exchange for joining the Coalition, we will list and promote your organization on our website, in our tweets, and in all other promotional materials. At last year’s inaugural event, we had thousands of hits on our website and we distributed hundreds of flyers. We performed various flash mobs all over NYC and we celebrated with theatre artists from all over the globe.

Now, all you need to do is sign up:

If you’re a company CLICK HERE

If you’re an individual CLICK HERE

In addition to distributing the message, this year the NYC World Theatre Day will…

- Curate a blog with a new guest blogger every day starting on March 1

- Sponsor two to three Spontaneous Live Action Theatrical Performances (aka SPLAT Performances) in the week leading up to March 27^th

- Coordinate Making the Political Personal a brunch panel on March 27^th, to take place during the hotINK Festival of new international plays, moderated by Kevin Bitterman (

- Throw a party to celebrate and read the message aloud at Dixon Place 4pm – 7pm on March 27^th

Created by UNESCO in 1949, ITI is an NGO that seeks to create peace and solidarity across borders and between people through the exchange and co-operation of artists. www.iti-worldwide.org. Theatre Communications Group (TCG) is home to the US-Center of ITI. TCG, the national organization for the American theatre, exists to strengthen, nurture and promote the professional not-for-profit American theatre. www.tcg.org

For additional information about us, visit our website www.nycwtd.com. If you have any questions or if you are interested joining our Planning Committee, please email us at nycwtd@gmail.com.

Dispatches from Mexico

2011-01-25T13:36:00.007-05:00

From Internationalists Co-Founding Members Tamilla Woodard and Ana Margineanu,

For the last 10 days we have been investigating the theatrical climate of 2 major cities in Mexico: Mexico City and Querétaro. Although the scene in Mexico is obviously vibrant we found ourselves not able to see as much as we desired because the theatre season doesn't restart until late January. In spite of that, we have managed to meet amazing artists, see incredible performance on stage and in rehearsals and to conduct a series of interviews with performing artists of many genres that explore the perspective of the local artists in the international scene. This is a sneak preview of an initiative we will launch in March highlighting the most interesting artists we've meet with clips of performance and interviews. Special thanks to Dann Cazes our new friend who acted as both guide and translator for most of our visit.

AND NOW...We are proud to present Circo Teatro, a social circus in Querétaro, Mexico.

"It is our first day in Querétaro. We are having our first walk through one of many beautiful plazas filled with people enjoying the warm winter evening. We can not help but to notice two individuals towering over the others in the plaza by more than 6 feet. They are on stilts and between spectacular moves, approach us and invite us to follow them to a performance just down the street, around the corner and in the forth house on the right. We decide to ignore our instincts telling us to not follow tall dark strangers into unknown houses at night. However, we were...intrigued and since they were performing just for tips we thought this might be a great chance to get the nights entertainment for cheap (fully recognizing, of course that we might be taking a chance at being the nights entertainment, ourselves). When we arrive we find a circus tent in the middle of a house already filled with audience. Despite the hour, there are young children, grown women, old men all tightly packed onto raisers, cheerfully chatting, eating and drinking. I must say, we fully expected an amature performance. However, we were in for 2 glorious hours of daring, funny, stupid and virtuosic performance from company performers as young as 15 years old. We LAUGHED. We WOWED. We CHEERED and we felt transported into a beautiful past time when theatre was meant for everybody. "- tamilla and Ana.

Here is a short clip of one of CIRCO TEATRO'S acts followed by an excerpt from the interview we did with the company the next day. Stay tuned for a posting of the entire interview and more performance clips in March.

Circo Teatro Lyra and Stilts from Tamilla Woodard on Vimeo.

Circo Teatro, January '11 interview excerpt-Collaboration from Tamilla Woodard on Vimeo.

Playwriting Contest FAQs

2011-01-14T14:53:00.006-05:00

Is my play eligible if it has been produced before?
The short answer is ‘no.’ We are looking for new plays that are in earlier stages of development, that have not had design elements or a paying audience. It should be at a point where the writer is done writing and wants to 'hear' it. The long answer is 'there is some flexibility’. We are not excluding things that have been previously developed in a reading or workshop or university, but are primarily looking for something that The Internationalists and the winning writer can develop further together.

Why was my submission returned?
In addition to the script, we ask that you respond to the specified guidelines and questions listed on the contest form. You can find all this information on our website, on facebook and on our blog. We have a lot of submissions, so please read the information carefully. It only helps us distribute plays faster.

What do you mean by 'presentation'?

The Internationalists are committed to producing public staged readings of the winning play. As the term 'reading' has different connotations in different cultures, we decided to use the term presentation. Depending on specific circumstances in select locations, there may be a higher level of production value, but this is not a condition of the award.

If I win, will I receive compensation?

There is no monetary prize for this contest. The award includes a minimum of five public presentations of your play, and in specific circumstances, may also result in the translation of your play into another language.

If I win, will I be invited to the readings?

You will be more than welcome at any and all of the public presentations, and The Internationalists will do everything in our power to assist in securing travel funds and housing accommodations for you. Additionally, we have retained flexibility in the locations of the readings so that if feasible, we can present one in or near your home.

What is the time frame of the readings?

It is the goal of The Internationalists to produce 5 public presentations within 2011. If we have more than five presentations, they may continue into the beginning of 2012.

What about copyright?

‪The text of the play will remain at all times the property/copyright of the playwright. The Internationalists will require 1) listing in future publications and programs, 2) that no other productions take place between our first and last reading, and 3) right of first refusal for a full production within a reasonable amount of time following the final reading. ‪Details to be negotiated in good faith upon winning.

What will be expected of the winning playwright?

Though we are happy to receive all eligible scripts, we are looking for someone who is also interested in accompanying The Internationalists on this journey. We look forward to developing a relationship with both the play and the playwright. We are eager to share a fantastic new play to as broad a global audience as possible.

Stand in Solidarity with Belarus

2011-01-14T11:24:00.004-05:00

PEACEFUL PUBLIC DEMONSTRATION

In Support of Belarus Free Theatre

Wednesday, January 19 from 12 PM to 1 PM

The Mission of Belarus to the UN

136 East 67th Street, NYC, NY

The Internationalists Playwriting Contest

2011-01-06T08:59:00.003-05:00

The Internationalists is excited to announce a new global playwriting contest. The winner’s play will receive public presentations in at least five locations around the world including New York, Berlin, Buchrest and Sydney.

Contest Mission

This contest is for a groundbreaking play that explores the theme of Boundaries. Though the characters can be few and the location specific, we are looking for big ideas and challenging questions. The Boundaries we wish to explore can be physical, emotional, psychological, cultural, political, spiritual or all of the above, as long as it is expressing an individual perspective on something humankind can intimately connect to. This is not only an opportunity to have a text exposed to different audiences, but a chance to engage in a cross-cultural exchange that fosters a collaboration with multiple directors around the world who will each have a personal vision of the play. It should offer each director and cast in the various locations a unique opportunity to work on the development of a provocative and engaging text through the lenses of audiences around the world. This play should speak both on a personal and universal level. It should be ambitious and stretch the boundaries of what is theatrical.

Submission Guidelines

1. Playwright may only submit one full-length script.

2. The play submission must be in English (either original or translation)

3. The play must not have had a fully mounted production

4. The playwright must include in his/her submission:

a. Name, address, phone number, email address and how you heard about the contest

b. Cover letter introducing yourself and explaining how your play addresses the mission of the contest. (500 word limit)

c. Bio (300 word limit)

d. Synopsis and Character Breakdown (300 word limit)

e. Electronic form (Word or PDF) copy of full script

Deadline

The deadline for submissions is Midnight EST on Friday, February 11^th.

Finalists will be notified by March 27^th.

The final round of selection will include a telephone, video, or in-person interview.

Contact

Submissions should be sent to: submissions@theinternationalists.org

You will receive a confirmation of receipt.

For more information visit our website at www.theinternationalists.org

Polish Playwriting Finally Being Recognized?

2010-11-22T13:13:00.003-05:00

Check out this great article by playwright Sarah Grochala about how Polish playwriting is finally getting its due.

WHICH DIRECTION HOME?

2010-07-20T23:28:00.002-04:00

WHICH DIRECTION HOME? is a festival of new work inspired by The Odyssey. 8 Directors from 6 countries have used Homer’s epic poem as a base to create wholly original theatrical material that encompasses a myriad of themes including home, mystery, choice, identity and myth.

PROGRAM A

7PM Wed 7/21, Fri 7/23, Tues 7/27

Das Fremde Essen, Directed by Dina Keller (Germany)

OD@C, Directed by Jake Witlen (USA)

Lucky, Directed by Karina Bes (The Netherlands)

To The Oars!, Directed by Jeremy Lydic (USA)

PROGRAM B

7PM Thurs 7/22, Mon 7/26, Wed 7/28

Das Fremde Essen, Directed by Dina Keller (Germany)

Longing, Lingering, Lost, Directed by Doug Howe (USA/France)

Fragments of a Father, Directed by Sama Ky Balson (Australia/France)

Oh De Sea!, Directed by Tamilla Woodard (USA)

SPECIAL EVENTS

Saturday, July 24 - MARATHON PERFORMANCE

(Programs A & B back-to-back)

Thursday, July 29

The Blind Trip, Directed by Ana Margineanu (Romania)

& Mash-Up Performance of 'Best of Fest' Highlights

Full Show Descriptions, Ticket info and Much Much More at

http://www.theinternationalists.org/odyssey.html

'Which Direction Home?' Press

2010-07-16T17:13:00.002-04:00

Check out these two articles about The Internationalists' upcoming 'Which Direction Home?' festival.

The Brooklyn Rail

The Q Note

Find more information about the productions and how to buy tickets at our website.

La Journée Mondiale du Théâtre

2010-03-24T12:58:00.003-04:00

Journée Mondiale du Théâtre
Samedi 27 Mars 2010 - 17h-19h
Le Cavern Club - 21 Rue Dauphine, 75006 Paris

The Internationalists Directors Collective vous invite à vous joindre à nous pour les boissons et la conversation à célébrer 'La Journée Mondiale du Théâtre'. Dame Judi Dench "Message International de La Journée Mondiale du Théâtre" sera lu en plusieurs langues à 18h.

La Journée Mondiale du Théâtre a été créée en 1961 par l’Institut International du Théâtre. Chaque année, elle est célébrée par la communauté théâtrale dans le monde entier le 27 mars. De nombreuses manifestations nationales et internationales marquent cette Journée. Mais l’événement le plus important de la Journée Mondiale du Théâtre est certainement la diffusion du « Message international de la Journée Mondiale du Théâtre » à travers lequel une éminente personnalité des arts vivants est invitée à partager ses réflexions sur le thème du théâtre et de la paix entre les peuples. Jean Cocteau (France) était l’auteur du premier Message international en 1962.

What is Mystery?

2010-03-10T10:36:00.000-05:00

Our core collective is currently hard at work developing a festival to be presented in New York this July inspired by Homer’s Odusseia, and we humbly ask for your inspiration and input.

Over the coming weeks, we will be posing a series of questions that we encourage you to help us answer. We have generated these questions to further our dramaturgical research in relation to the text, our collective, contemporary theatre and our current generation. Our intention is to use these questions as ‘connectors’ between our current project, our mission as a collective, and international theatre as a whole.

We would like to solicit your contributions to facilitate a larger understanding and appreciation of what these propositions mean for theatre today. In addition to the productions our directors are creating for the festival, we will be creating a collection of short works entitled ‘Instant Theatre’ that will be created the day of performance and premiered that evening based on your offerings and assistance.

In an attempt to answer these questions, we request that you submit the source material for these ‘instant’ projects. They can be in the form of a photograph, a poem, a short dialogue, a list of props, a brief prose paragraph, a piece of music etc. Each participating director will use the offered source material as the basis for their original piece, so that anything you supply will likely be utilized in the generation of the performance.

We want to make sure that, in addition to the rehearsed productions, we include the insights and musings of our fellow international theatre artists around the world. Any and all submissions are graciously accepted, and we look forward to including your contributions in our upcoming festival.

The first question we ask you to play a part in answering is: What is mystery?

Hey brain - what's my motivation?

2009-11-24T14:27:00.003-05:00

Fiona Shaw recently dedicated her brain to science. Ah, the actor's sacrifice. All in the name of a good performance. But seriously, she committed to lying flat on her back, as still as possible, and reciting T.S. Eliot's 'Wasteland', so that scientists could scan her brain and research what really goes on in an actor's head when they become 'another person'. Read the full article here.

Confidence au Proche-Orient

2009-11-23T14:42:00.001-05:00

Doug Howe and Ozen Yula

Maison des Metallos

Paris, France

21 November 2009

"Confidence au Proche-Orient"

Around the World in 24 Hours

2009-10-20T12:32:00.003-04:00

Click image to enlarge.

Modern Commedia Workshop & Performance

2009-07-28T08:43:00.000-04:00

The Internationalists is proud to welcome Teatro Punto (Carlos Garcia Estevez and Katrien van Beurden) to New York to host a Modern Commedia dell’ Arte workshop and performance on August 5^th and 6^th, 2009.

Contemporary Commedia Workshop

Dates: August 5^th, 2009 from 3:30-9:30pm; August 6^th, 2009 from 3:30-6:30pm

Fee: $150 (includes the ‘Solo dell’Arte’ performance on August 6^th at 8pm)

Experience Level: Appropriate for all levels

Location: LaGuardia Performing Arts Center, 31-10 Thompson Ave, LIC (7,E,V,R,G trains nearby)

Tickets for the workshop may be purchased through Brown Paper Tickets at http://www.brownpapertickets.com/event/71880 or 1-800-838-3006.

Teatro Punto makes theater where the actor is the author of the story. As the actor on stage is stripped of supports such as extended settings and a fixed script, he can become the author of a tragicomic show. He does this through movement, text, techniques and imagination. Carlos and Katrien’s main source of inspiration is Commedia dell'Arte. Employing their training, imagination, intellect and a great deal of hard work and experimentation they have taken Commedia to new heights. Their storytelling takes the masks into new territory. They have discovered ways to make the life within each mask not only amuse and engage the audience, but take them to the dark side. A theater form full of acting possibilities; it is precise and vulnerable, yet above all else it is alive. Previous U.S. workshops have been given at: Brown University, NYU, Wagner College, Sarah Lawrence, UMass, Trinity College, Tufts, and Williams & Mary.

The Workshop consists of:

• Movement analysis
• Physical transformation/metamorphoses
• From Tragedy to Comedy
• Musicality and timing
• Mask and archetypical characters
• Improvisation and scene composition - Canovaccio
• Study of interaction between actor and audience

‘Solo dell’Arte’ Performance

Date: August 6^th, 2009 at 8:00pm

Admission: $15

‘Solo dell’Arte’ is an introduction to the audience of one of the most ancient types of theatre, Commedia dell’Arte, and the presence of this Art into our days. In this show/conference there is only an empty space, masks, an actor without costumes and the audience. Carlos Garcia Estevez will perform a collection of stories under the theme of love (tragic love, infidel love, casual love). He will be aided by his own techniques, movements, gestures, texts, imagination and the spirit of performing for and with an audience. During the performance, the actor will present the historical and contemporary context of this type of theatre and he will explain to the audience some of the mechanisms of how this theatre is made (the metamorphosis of the actor, the use of the mask and the grommellot).

For more information, visit www.theinternationalists.org/commedia or email info@theinternationalists.org

International Physical Theatre Lab in Austria

2009-07-27T10:13:00.001-04:00

International Physical Theatre Laboratory

October 25-31, 2009
Retzhof Castle, Leitring bei Leibnitz
Austria

PARTICIPANTS:
Actors of physical, dramatic, dance and musical theatres, dancers, choreographers, circus performers, directors.

PROGRAM:
The programme includes intensive training, lectures and discussions. The Lab is open to performers from different creative genres and techniques inspired by Physical Theatre as a bold, vibrant and multidimensional approach to contemporary theatre performance. Practical physical training is the core of the Lab programme. Participants will explore physicality as the key to form, style, atmosphere and emotional palette in contemporary performance. Practical sessions develop in the form of various exercises which progress from simple to compound. Gradually the group is proceeding to group improvisations and structures. Every day is setting advanced creative tasks, developing the preceding steps. Through the system of consecutive exercises the group is growing common language and trust, ability to collaborate and create together.

STRUCTURE OF THE DAY:
Each day begins with morning warm-up which combines breathing, movement and imagination. It will help participants to wake up and to prepare for the intensive practical process during the day.

Practical training. Part I. Training by method of improvisation.

Practical training. Part II. Structural Improvisation. From exercises to performance.

Practical training. Part III. Principles of Biomechanics. Meyerhold's etudes.

Lectures & Discussions: Performer's Physicality in the methods of Meyerhold, M.Chekhov and Stanislavsky.

VENUE:
The Lab will take place in Leitring bei Leibnitz, the beautiful town located within 30 min from Graz Thalerhof Airport, 2.5h from Vienna by car, 40 min from Graz by car, and 20 minutes from the Slovenian border. The public transportation to the venue is easy. The programme will take place in the historic castle of the 16th century. Accommodation and meals are organized for the group.

PROGRAM & REGISTRATION DETAILS:
http://www.iugte.com/projects/PhysicalTheatre.php

Havel to Direct his First Film

2009-06-26T08:40:00.000-04:00

Vaclav Havel, Czech playwright and former president, will direct his first movie based on his most recent play, 'Leaving'. His first new script in twenty years, the story is about a politician's adjustment to normal life after leaving politics. Sources predict his wife, Dagmar, for whom he wrote the script, will play the female lead. The play premiered in May 2008 at the Archa Theatre in Prague.

Performing Revolution - Arts Under Communism

2009-06-25T06:49:00.002-04:00

"A performing arts festival marking the 20th anniversary of the fall of communism in Central and Eastern Europe, presented by The New York Public Library for the Performing Arts in partnership with key New York City cultural organizations and academic institutions, November 2009–March 2010." Read about it here.

It's Me Down There

2009-06-16T18:00:00.001-04:00

The Internationalists and IPAN present

An English Language Reading of

It’s me down there (En bas c’est moi)

Written by Sébastien Joanniez

Translated by Simon Pare

Performed by Doug Howe

Thursday 18 June 2009 at 18:30

Le Cavern Club (Downstairs)

21 rue Dauphine Paris 6éme

Métro : Odéon / Pont Neuf

Submissions for The Madness & Arts Festival

2009-06-15T08:30:00.001-04:00

The Madness & Arts Festival (MAF) is an international and interdisciplinary festival on arts and madness, to be held in Haarlem, the Netherlands in 2010. You are kindly invited to submit your projects for consideration of the programme committee. The MAF is specifically looking for music, theatre and dance performances for the festival venues and smaller events/performances/presentations for the festival camp.

What = MAF
The Madness & Arts Festival (MAF) is a reoccurring international and interdisciplinary manifestation about art and madness, which will be held in Haarlem, the Netherlands in 2010, after Toronto, Canada (2003) and Münster, Germany (2006). The festival focuses on the interaction between art and madness, through presentation of high quality art with an international appeal. MAF gives stage to different perspectives from people with and without a psychiatric background, artists, scientists and the public. With an ambitious and inspiring programme of nationally and internationally renowned artists and projects, MAF aims to bridge the gap between art and its traditional audience, and various aspects of psychiatry. MAF will be a compact, high quality festival with international appeal.

MAF will take place from September 24th until October 3rd, 2010.

New Immigration Rules Threat to British Arts

2009-06-11T12:01:00.002-04:00

Read this article about the new immigration rules in the UK that pose a tremendous threat to international touring arts in the country.

"The visa controls are part of the new points-based system for immigration. The rules for touring artists, which came into force in November, include a requirement for each artist to show £800 of savings, and financial support and constant monitoring by a “sponsor” to make sure that they do not abscond during their visit. Artists must apply for the visa in person, supplying biometric data and a digital picture. That has proved difficult in Africa in particular, with artists being told to travel to countries where biometric equipment is available to obtain their visas."

Transmediale & Vilém Flusser Theory Award 2010

2009-06-09T06:16:00.001-04:00

Deadline: July 31, 2009
Info & submission: www.transmediale.de/en/call2010-main
Transmediale and CTM (club transmediale) are inviting submissions to the "Transmediale Award Competition 2010" and the "Vilém Flusser Theory Award 2010". Invited are art works, projects and positions that respond to the challenges of our rapidly changing digital, technological and networkred cultures. The "transmediale Award" seeks innovative, experimental and visionary works across a wide scope of form, process and practice that embrace, question and enrich our understanding and relationship to our immersed media and technologically driven society. Entries that exemplify new and critical forms of digital expression and interaction are encouraged, as are works from countries and regions in which digital art and culture are emergent.

Cabaret Without Borders - London

2009-06-03T07:24:00.000-04:00

London, UK
"Cabaret Without Borders" - Talks and Performances for Free Movement
Date: June 3, 2009
Location: Rochelle School, Arnold Circus, London E2 7ES
Info: www.manifestoclub.com
The Manifesto Club, Artsadmin and A Foundation present: "Cabaret Without Borders" - talks and performances against the Home Office’s new controls on visiting artists and academics to the UK. This is part of the Manifesto Club's summer events series, Freedom Summer. This will be a convivial evening of satirical artistic interventions, passionate political rhetoric and personal testimonies at the East London gallery, Rochelle School, celebrating free movement for all and opposition to the Home Office's new Visa controls for visiting artists and academics.
Participating artists: Harold Offeh, Susannah Hewlett, Mark McGowan, Cyril Lepetit, chanson diva Barb Jungr, author Maureen Duffy, poet and performance artist Anthony Howell, theatre director Tim Supple, activists/free thinkers Josie Appleton and Christian Michel and many more. Including testimonials and videos from invited artists who have felt the brunt of these regulations or were refused visas: Dmitri Vilensky (Russia), Poshya Kakil (Kurdistan-Iraq), Abbas Kiarostami (Iran)

Untitled (sans titre)

2009-05-26T06:02:00.002-04:00

Check out this new network 'Untitled (sans titre)'.

From their website, "Untitled (sans titre) is an association that aims to promote art and artists. Twice a year, in Spring and Autumn, Untitled (sans titre) will organise stimulating meetings in some of Brussels most beautiful private residences, between artists and high level personalities in the worlds of politics, education and thought, business and science to discuss contemporary issues. Through their work and approaches, artists will provoke debate and “lateral thinking” on issues such as environment and sustainability, economic and social progress, mobility, education, intercultural dialogue. Untitled (sans titre) is about mingling and networking at the highest level, bringing artistic creativity to influence thinking processes; it aims to provide the intellectual nourishment that we all need in order to face our daily decision-making with a depth of understanding."

Benigni's Dante on US Tour

2009-05-25T04:25:00.005-04:00

Oscar winning actor and Italian comedian Roberto Benigni will be coming to America with his one-man monologue based on Dante's 'Inferno'. Stopping in San Francisco and New York, 'TuttoDante' is Benigni's contemporary take on the classic text, mixed with off-the-cuff political jokes. He has been performing the show in Italy for the last three years to over a million people. Though known primarily as a clown, Benigni showcased his intellectual side. In each performance he recites a canto in Italian of the 'Inferno' from memory and provides detailed explanations of the history and poetry in English. Benigni still sees himself as more of a entertainer than scholar, and manages to slip in a bucket load of jokes about his nemesis, Silvio Berlusconi, the Italian prime minister, sending him to the deepest of Dante's depths. As Benigni says, “Only comedians can talk about death, life, God and Virgin Mary. If was a tragic actor, I couldn’t allow myself. But with this accent I can do it. I can talk with death in person because I am a clown. Yes. And I am proud to be a clown — very much.”

IPAN INTERNATIONAL WORKSHOP EXCHANGE 2009

2009-04-16T09:25:00.002-04:00

20 hr IPAN Weekend Exchange: 2, 3 May - 10:00-21:00

The IPAN Weekend Workshop is a 20 hour Intensive Theatre Program. Ten Workshop leaders will be gathered from around the globe to exchange specialized techniques in the form of 2 hour workshops. This Event will be open to a limited number of participants interested in taking these workshops & sharing in an Intercultural Theatre Exchange.

Sat 2 May

1 hr IPAN Introduction: Sama Ky Balson - 10:00- 11:00

An introduction to the aims of the International Performing Arts Network (IPAN). We will discuss the creation & continuation of Intercultural theatre and meet all international workshop guests.

1 hr Sohum Yoga Warm Up: Michelle Timmins - 11:00-12:00

The ﬁrst workshop will be a yoga warm up. We will enter simple yogic postures to connect us with breath and movement, to ground ourselves and arrive in a space of growth and openness. http://www.sohum-yoga.com

2 hr i.Q-Quantum Theatre: Ira Seidenstein - 12:00-14:00

i.Q - Quantum Theatre applies a speciﬁc set of techniques based on a unique blend of Eastern & Western theatre practices, enabling the actor to clarify universal principles of acting regardless of previous training. http://www.iraseidenstein.com/

2 hr Psychophysical Training: Sajeev Purushothama - 14:30-16:30

Psychophysical Image training is a combination of theatre actor training systems drawn from Kalarippayatt, Kathakali, Kootiyattam, Noh theatre and meditational practices.This workshop introduces physical exercises invoking awareness that produce a qualitative state of readiness.

2 hr Rhythm/ Voice: Johannes Steiner - 16:30-18:30

We will learn to control our breath and resonance, ﬁnd correct body posture while singing and speaking and play with rhythm patterns based on body percussion.

2 hr Comedia Del Arte/ Mask: Carlos Garcia - 19:00- 21:00

Take mask play to new heights by exploring movement, metamorphoses and timing. By bringing life to each mask, we will discover the mask’s archetypal characters through improvisation and the interaction between actor and audience. http://www.solodellarte.blogspot.com http://www.teatropunto.net

Sun 3 May

2 hr Extended Voice: Harlan Chambers - 10:00-12:00

Explore the heights and the depths of your voice during this Roy Hart Voice Workshop. Search for the delicate balance between solid technique and imagination by grounding our breath and opening our bodies.

2 hr Improvisation: Caspar Schjelbred - 12:00-14:00

In improvisation we plunge into the unknown and create drama from seemingly nothing . Explore how to create meaningful change on stage by drawing on character archetypes that we encounter on the Hero's journey of classic mythology. hhtp://www.improacademy.com

2 hr The Present Moment: Doug Howe - 14:30-16:30

Through a series of physical and psychological exercises, this workshop will explore ways to become more present and ‘sense’itive to the moment. Combining various training methods from Grotowski to Bogart, participants will discover how to release expectation and embrace the present moment. http://www.theinternationalists.org

2 hr Red Nose Clown: John Beale - 16:30-18:30

This workshop begins with exercises and games to wake up our child-like play pleasure. Then, graduate to Red Nose - the smallest mask in the world. The purpose of the nose is not to hide you but to reveal you. http://www.rednoseclown.net

2 hr Bouffon: Eric Davis - 19:00-21:00

In the world of Bouﬀon, the audience is the joke. Bouﬀons rejoice in making a parody of the audience’s values and ﬂaws. Explore connecting with the audience, create complex physical characters, play upon contrasts of theme & rhythm, and be present & captivating. http://www.redbastard.com

THEATRE WORKSHOPS: PROGRAM WEEK 2- 10 MAY

The Workshop program oﬀers you a list of possibilities. Take individual workshops and select your theatre program “A la Carte” or the “Theatre Menu” options. See above for workshop descriptions.

THEATRE A LA CARTE

20 hr IPAN International Workshop Exchange 2, 3 May- 10:00-21:00 - 200€

03 hr Extended Voice: Harlan Chambers - 5 May- 10:00-13:00 - 50€

03 hr Rhythm/ Voice: Johannes Steiner - 5 May - 14:00-17:00 - 50€

03 hr Red Nose Clown: John Beale - 8 May - 10:00-13:00 - 50€

06 hr Commedia/ Mask: Carlos Garcia - 4 May - 10:00- 17:00 - 100€

15 hr Quantum: Ira Seidenstein - 4 May - 17:00-20:00 & 5, 6, 7, 8 May- 18:00- 21:00 - 250€

15 hr Bouffon: Eric Davis - 8 May-14:00-17:00 & 9,10 May -10:00-17:00 - 250€

*Please Note: Lunch breaks and pauses during longer workshops are included in time schedules.

THEATRE MENU OPTIONS - PROGRAM WEEK 2- 10 MAY

Select from Theatre Menu options. Places are limited for these workshops.

MENU 1 - 65 hr PROGRAM - FULL THEATRE INTENSIVE: 650€ (300 € Savings)

Have it all! Book yourself in for all Theatre Workshops: 2-10 May.

1 A: 1 x 20 hr IPAN Weekend Workshops + 2 x 15 hr Workshops + 1 x 6 hr Workshop + 3 x 3 hr Workshops

MENU 2 - 45 hr PROGRAM - WORKSHOP WEEK: 450€ (300€ Savings)

All the workshops, (excluding the IPAN weekend) 4-10 May.

2A: 2 x 15 hr Workshops + 1 x 6 hr Workshop + 3 x 3 hr Workshops

MENU 3 - 35 hr PROGRAM - IPAN WEEKEND + WORKSHOP(S): 350€ (100€ Savings)

IPAN Weekend Workshop 2,3 May + your choice of 15 hrs of Workshops May 4-10

3A: IPAN Weekend Workshop + 1 x 15 hr Workshop

3B: IPAN Weekend Workshop + 1 x 6 hr Workshop + 3 x 3 hr Workshops

MENU 4 - 30 hr PROGRAM - WORKSHOP WEEK MIX: 300€ (200€ Savings)

Your choice of 30 hrs of Theatre Workshops. During week 4-10 May.

4A: 2 x 15 hr Workshops

4B: 1 x 15 hr Workshop + 1 x 6 hr Workshop + 3 x 3 hr Workshops

INFORMATION

VENUE : SUDDEN THEATRE-14 Bis, Rue Sainte Isaure- Paris, 75018, France http://www.suddentheatre.fr/

NEAREST METRO: Jules Joffirin ( Line 12) View Map

IPAN CONTACT DETAILS:

Host: International Performing Arts Network

Contact Name: Sama Ky Balson

Phone: +33 (0)6 86 24 75 01

Email: i.p.a.n@live.com

WORKSHOP REGISTRATION:

Please send attached Registration Form completed with your contact details & workshop selection to email: i.p.a.n@live.com

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PAYMENT METHODS: Payments can be made by French cheque or by Bank Transfer.

*Please Note: International Bank Transfers carry an extra 20€ bank charge to be paid by participant. We look forward to welcoming you to the IPAN International Theatre Workshops 2009.

Billington Takes On Theatre Auteur-ism

2009-04-14T09:47:00.003-04:00

Michael Billington of 'The Guardian' warns against theatre auteurs.

From cinema comes the idea of the auteur: the dominant directorial figure whose individual stamp is on every frame of a piece of film. But although the religious cult of the auteur has been widely attacked – not least by Gore Vidal in a brilliant essay called Who Wrote the Movies? – it is now in danger of spreading to theatre. Certain creative figures, whose endeavours I frequently admire, are in danger of acquiring auteur status. What that means, in effect, is that their individual style and idiosyncratic signature becomes more important than the work itself.

In Britain, the key examples would be Katie Mitchell, Emma Rice of Kneehigh and Simon McBurney of Complicite. Internationally, Robert Wilson also fits the title. And let me say at once that I have often been astounded and impressed by their work. Mitchell did the best production of Ibsen's Ghosts I've ever seen. Rice's famous version of Coward's Brief Encounter shifted the interest away from the tight-lipped lovers to the working-class subplot. And McBurney is a brilliant innovator as proved by Complicite's Mnemonic that explored the nature of memory.

What worries me is the awed reverence of their followers and the tendency of a highly personal style to harden into a rigid mannerism. Katie Mitchell, as anyone who saw Waves, Attempts On Her Life or her recent Dostoyevsky adaptation, ...Some Trace of Her, at the National will know, is fascinated by the interaction between film and live performance: an avenue she'll be exploring again this week in After Dido at the Young Vic. It is right that theatre should acknowledge the existence of cinema. What few people seem to be asking is whether Mitchell's curiosity is turning into an obsession and whether it illuminates the work in question. Rice has also forged a distinct identity by taking musical or movie classics – everything from Tristan and Isolde and Don Juan to A Matter of Life and Death – and jovially deconstructing them. Sometimes it works: sometimes it doesn't. But how much longer, I wonder, can Rice go on feeding off the classical canon?

The danger of the auteur theory is twofold. It creates idols who, to their acolytes, can do no wrong. In cinema this reached the point of absurdity when, as Kenneth Tynan once pointed out, a trivial escapade like Man's Favourite Sport? was treated as a masterpiece simply because it was directed by Howard Hawks. I see the same trend developing in theatre. The other danger is that the interpreter becomes bigger than the thing interpreted. Or, to put it more bluntly, that the director takes precedence over the writer. And, if you want an example of where that can lead, you only have to look at the sterility of post-war German theatre which is dominated by star directors and starved of great dramatists.

All I suggest is that we proceed with caution. In cinema the elevation of the director to cult-status, and the consequent downgrading of the writer, has led, most obviously in Hollywood, to a growing sense of artistic bankruptcy. Theatre, in Britain at least, is more level-headed and still places the dramatist at the heart of the creative process. I just hope that continues and that the director is seen as a necessary interpreter rather than as an icon to be devoutly worshipped.

Year of Grotowski: Lab of Creative Research

2009-04-07T09:13:00.003-04:00

Year of Grotowski: Meetings with Remarkable Women

Laboratory of Creative Research

July 7-August 5, 2009 - Grotowski Institute, Poland

Application Deadline: May 15, 2009

UNESCO has designated 2009 as 'A Year of Grotowski' and this month-long intensive training opportunity features five advanced work sessions led by women from different cultures and generations who share a direct connection with Jerzy Grotowski. The work sessions will take place in Wroclaw and in Brzezinka. The total cost is 1250 Euros, which includes all work sessions and events. To apply, email your CV and description of your experience here.

DasArts Master of Theatre Program

2009-04-06T09:37:00.003-04:00

As part of the Amsterdam School of Arts (AHK), DasArts has transformed itself into an international Master of Theatre program. They offer a unique training laboratory for professionals in the performing arts. The curriculum consists of 4 semesters and defines it as a challenging environment that engages deeply with its students. The deadline for applications is 17 April for the semester starting in September 2009. All applications must be submitted in English here.

Golden Mask 15

2009-04-05T13:01:00.002-04:00

Check out John Freedman's article here in 'The Moscow Times' covering the 15th anniversary of Russia's Golden Mask festival.

Russia's Theatrical Identity Crisis

2009-04-04T10:35:00.003-04:00

Noah Birksted-Breen writes in 'The Guardian' about Russia's infighting over Gogol's national identity, and suggests instead of fighting over the who/what/where with the Ukraine, it should instead start promoting some of its virtually unknown classical theatre abroad, such as works by Platonov, Saltykov-Shchedrin, Andreyev and Mayakovsky. Read full commentary here.

Boys Gone Wilde In Singapore

2009-04-03T10:31:00.004-04:00

A current production of The Importance of Being Earnest is causing a bit of a stir in conservative Singapore. The production has an all-male cast dressed as men, which has led the media regulator to demand an age advisory of '16 and above' on all publicity. The director, Glen Goei, has said he recast the play to 'celebrate' Wilde, a man who 'dared to be true to himself and his nature' and 'remind people what he stood for'. Read a full article about the controversy here.

Hamlet: the Musical

2009-04-01T08:28:00.004-04:00

Will wonders new cease? Shakespeare is sure to be rolling in his grave. Broadway producers are now bringing a version of Hamlet: The Musical to the Great White Way, starring none other than Brad Pitt in the title role. Other casting includes Robin Williams as Claudius, Goldie Hawn as Gertrude and Sarah Jessica Parker as Ophelia. Michael Bay, director of Transformers, is set to helm the action packed spectacle, with Jerry Bruckheimer to produce.

'Black Coffee' a Hit in Cairo

2009-03-31T15:56:00.002-04:00

Murder, drowning and solitary death bring lots of laughs in the current production of Q'ahwa Sada playing in Cairo. The play, which translates to Black Coffee, was supposed to close after 30 days in November, but instead has become a huge hit at the Artistic Creativity Center. The play is a series of 12 vignettes satirizing the ills of contemporary Egyptian life. Check out a full article about it here.

From Paris to Brooklyn

2009-03-29T12:36:00.003-04:00

In the current production of Yasmina Reza's Gods of Carnage running on Broadway, starring Marcia Gay Harden, Jeff Daniels, Hope Davis and James Gandolfini, translator Christopher Hampton not only had the task of rendering the text into English, he also had to relocate the setting. A discussion in the play about local parks has transferred from two Parisian parks, Montsouris and Aspirant Dunand, to two Brooklyn parks, Cobble Hill and Whitman. Read the full Times article here.

Culture without Borders

2009-03-28T12:37:00.003-04:00

Facinating article in 'The Australian' by David Elliott, artistic director of the 17th Biennale of Sydney, about the false division of culture. He writes, "The myth of cultural supremacy and separation is one of the great hoaxes of history, a discipline that until very recently was little more than propaganda, written by victors. The unsettling truth is that people, images and things have always moved vast distances across the world." Click here for the full article.

World Theatre Day 2009

2009-03-26T08:49:00.000-04:00

More Money for Street Arts?

2009-03-25T10:16:00.002-04:00

Check out this post by Lyn Gardner in 'The Guardian' about the joys of Street Art. Click here.

Six New Shakespeare Works?

2009-03-20T10:40:00.002-04:00

Dr John Casson, an independent researcher and psychotherapist, claims to have discovered Shakespeare's first published poem, the Phaeton sonnet, his first comedy, Mucedorus, and his first tragedies, Locrine and Arden of Faversham. He also explores the plays Thomas of Woodstock and A Yorkshire Tragedy, and claims to prove that a 'lost play' called Cardenio is a genuine work by Shakespeare and fellow playwright John Fletcher. Casson publishes his findings in his new book, Enter Pursued by a Bear. Read more about it here.

Cairo's 'Radio Muezzin' Hits Berlin

2009-03-19T09:57:00.003-04:00

Conceived by Swiss director, Stefan Kaegi, Radio Muezzin is a one-act docu-drama performed in Arabic with subtitles. The concept arose after a decision by Mahmoud Hamdi Zaqzouq, Egyptian minister of religious endowments in 2004. Zaqzouq announced that the noise disturbance caused by Cairo’s hundreds of muezzins leading the daily calls to prayer at different times and over fuzzy loudspeakers was becoming too much for citizens to bear. It was determined that the ministry would choose the 30 best muezzins to broadcast the call over a radio channel. Read the full article from the NYTimes here.

Das Kapital: The Musical

2009-03-18T09:46:00.005-04:00

Just when you thought Broadway couldn't be beat for bad taste, the Chinese show up the Americans once again. The Shanghai Dramatic Arts Centre intends to premiere Das Kapital: The Musical next year. The director, He Nian (best known for his martial-arts stage spoofs) promises to combine Broadway musicals and Las Vegas spectacle with his sing-song, dance marathon adaptation. Zhang Jun, an economics professor at Shanghai's Fudan University, has been enlisted to make sure the production is intellectually rigorous. Read more here.

Gov't Promises Abbey Theatre Will Be Completed

2009-03-17T09:55:00.004-04:00

In honor of St. Patty's Day, here's a little news about the new Abbey Theatre project. Martin Cullen, the Irish arts minister, promised that, despite the terrible economy, completion of the new Abbey Theatre is a top government priority. The project, which received the official go-ahead back in 2006, has yet to be launched. Cullen was challenged in parliament last week about its lack of progress, and he promised plans would move ahead. Read more here.

Lincoln Center Festival International Line-Up

2009-03-15T08:53:00.003-04:00

Lincoln Center Festival: Theatre
July 7 to 26, 2009

“Les Éphémères”; Le Théâtre du Soleil (Ariane Mnouchkine) - France
“Boris Godunov”; Chekhov International Theater Festival (Declan Donnellan) - USA
“Villeggiatura”; Piccolo Teatro di Milano and Teatri Uniti - Italy
“Life and Fate”; Maly Drama Theater - Russia
“Kalkwerk”; Narodowy Stary Teatr - Poland
“Ivanov”; Katona Jozsef Theater - Hungary
“Peasant Opera”; Bela Pinter and Company - Hungary

UK's 33rd Olivier Award Winners

2009-03-13T09:33:00.000-04:00

Best Actress: Margaret Tyzack for The Chalk Garden (Donmar Warehouse)
Best Actor: Derek Jacobi for Twelfth Night (Donmar at Wyndham's)
Best Performance in a Supporting Role: Patrick Stewart for Hamlet (RSC at the Novello)
Best Company Performance: The Histories, directed by Michael Boyd (RSC at the Roundhouse
Best New Play: Black Watch by Gregory Burke (Barbican Theatre)
Best New Comedy: God of Carnage by Yasmina Reza, translated by Christopher Hampton (Gielgud)
Best Revival: The Histories, directed by Michael Boyd (RSC at the Roundhouse)
Best Entertainment: La Clique (Hippodrome)
Best New Musical: Jersey Boys --The Story Of Frankie Valli And The Four Seasons, book by Marshall Brickman & Rick Elice, music by Bob Gaudio, lyrics by Bob Crewe (Prince Edward)
Best Musical Revival: La Cage Aux Folles, music and lyrics by Jerry Herman, book by Harvey Fierstein, based on the play La Cage Aux Folles by Jean Poiret (Playhouse Theatre)
Best Actress in a Musical: Elena Roger for Piaf (Donmar Warehouse, then Vaudeville)
Best Actor in a Musical: Douglas Hodge for La Cage Aux Folles (Playhouse)
Best Performance in a Supporting Role in a Musical: Lesli Margherita for Zorro (Garrick)
Best Director: John Tiffany for Black Watch (Barbican Theatre)
Best Theatre Choreographer: Steven Hoggett for Black Watch (Barbican Theatre)
Best Lighting Design: The Chalk Garden designed by Paule Constable (Donmar Warehouse)
Best Set Design: August: Osage County designed by Todd Rosenthal (National's Lyttelton)
Best Costume Design: The Histories designed by Tom Piper and Emma Williams (RSC at Roundhouse)
Best Sound Design: Black Watch designed by Gareth Fry (Barbican Theatre)
Outstanding Achievement in an Affiliate Theatre: The Royal Court Theatre's production of The Pride (Jerwood Theatre Upstairs)

Amsterdam Fringe Festival Submissions

2009-03-12T09:00:00.000-04:00

From September 3-13 the fourth edition of the Amesterdam Fringe Festival will again raise the rooftops in Amsterdam. An adventurous mix of theatrical anarchy and creative explosions, where events will be held in clubs and theaters, as well as on the streets and in living rooms. The application for the Amsterdam Fringe can be found here. Criteria for applications for the Fringe 2009 can be found on the website.