Revue
News from the Program in Educational Theatre
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PUBLISHED TWICE A YEAR, WINTER AND SUMMER • NUMBER NINE • WINTER 2007
Study Abroad: Keep off the Grass
FROM THE DIRECTOR
Greetings from Tokyo where I am
cultural life of the Asia-Pacific. I
currently leading a series of meet-
have encountered tremendous
ings for the Japanese research
generosity from the Japanese, and
network in educational theatre, as
a strong commitment to probing
“KEEP OFF THE GRASS.” You see it
it—in other words—to transcend
well as delivering papers and
the characteristics of an educa-
on signs everywhere. Common-
the grass?
workshops for the growing drama
tional theatre. I am forever remind-
place, every-day, nothing too spe-
education community.
one not only to walk on the grass,
By Tyson Schrader
but also to dance on it, to recite
poetry on it, to run circles around
Welcome to the world of applied
ed of the importance
cial. Just another thing you’re not
theatre. This past June and July, a
of a global education
supposed to do in this world of
couple dozen students and teachers
graduates, Mariko
and how the NYU
things we’re not supposed to do.
traveled to London, Dublin, and
Yoshida, is one of
Program in
How can this phrase provoke some-
Japan’s prominent fig-
Educational Theatre
ures in educational
has benefited from its
drama, and has been
vast international net-
instrumental in dissemi-
works.
ideas in process drama
ALMA: THE SOUL OF THE
Not only has NYU
nating contemporary
Philip Taylor, PhD
to her students at Tsuda
College. There is much
continued on page 3
had a longstanding
study abroad curriculum, but we have wel-
PHOTO BY DR CHRISTINA MARIN
One of our doctoral
WOMEN OF JUÁREZ
Staging Femicide
through Braided
Sorrow
interest here in the aesthetic
comed students from across the
potential of drama in the curricu-
world to our various degree pro-
lum, and while theatre is not a
grams. Students have come from
widespread school offering in
Japan, China, Korea, Taiwan, and
Japan, there is increasing discus-
Puerto Rico to study in New York,
sion on the contribution of the
plus a host of other countries,
When Educational Theatre Professor
the extent of which femicide had
arts to lifelong learning.
including Australia, Canada,
Dr. Christina Marín asked me to par-
wiped out the soul of a generation of
England, France, India, and Spain.
ticipate under her direction in a
women in Ciudad Juárez, Mexico.
staged reading of Braided Sorrow, by
After reading the script, I realized my
Today Mariko is taking me to
Kyoto where we will visit Kabuki
Theatre, and attend to the rich
There is a rich cultural exchange
continued on page 2
By Daphnie Sicre
Lying in the dessert; the prologue to
Braided Sorrow
Marisela Treviño Orta, I did not realize
continued on page 2
INSIDE
5 Prison Theatre Initiative 7 A Summer in Uganda 8 Where Are They Now? 10 Gods and Actors 12 Instant Gratification
2 NEW YORK UNIVERSITY
FROM THE DIRECTOR
continued from page 1
that occurs with this international effort as we (faculty, students and
alumni alike) benefit from the unique cultural microcosm presented
when a classroom has students, for example, from Italy, Mexico,
Russia and Singapore, collaborating with Americans. Our artistic and
PHOTO BY DR CHRISTINA MARIN
educational praxis is informed by the diverse cultural legacy of a
multi-ethnic and international community.
We have just finished interviews for a further full-time faculty
appointment, which will commence in the fall 2008. Each of the finalists mentioned that one reason why they applied for the position was
the unique global offerings which our program hosts. Over the next
twelve months, the Program in Educational Theatre will be offering
courses in Africa, Brazil, England, Ireland, and Puerto Rico. We enable
Issac Polanco, Daphnie Sicre and Catherine Hanna during the staged reading of Braided Sorrow
our students and faculty to have access to multiple sites and places
where their own creative life can be enriched. In this respect, I believe
the program is well placed to continue generating a first rate international curriculum and to attracting a worldwide audience dedicated
Staging Femicide through Braided Sorrow
continued from page 1
to educational theatre praxis.
Philip Taylor, PhD
Director, NYU Program in Educational Theatre
Revue
News from the Program in Educational Theatre
Department of Music and Performing Arts Professions
Number Nine, Winter 2007
Editor in Chief: Jennifer Miranda Holmes
Copy Editor: Daphnie Sicre
In This Issue:
portrayal of Alma, whose story repre-
addresses the bigger human rights
sents hundreds of women whose
issues: how do the families who have
human rights have been violated, and
lost their daughters, sisters, and
who have been exposed to indescrib-
mothers go on after such a traumatic
able pain and suffering, could not be
loss, and how do they demand jus-
taken lightly. Alma may be fictional,
tice when neither the US nor the
but her story is real. Dr. Marín
Mexican government, or the multi-
explains, “the play deals directly with
national corporations who profit from
the femicide taking place in many
the maquiladora industry, will take
border cities along the US-Mexico
responsibility for helping them?” asks
line, and specifically the context of
Dr. Marín.
Ciudad Juárez in Chihuahua-hun-
ence can gather a deeper under-
brutally raped and murdered, and
standing of the deadening reality of
many more young women have gone
living in Ciudad Juárez, Mexico. There
missing without a trace.”
Happenings
Study Abroad
The Prison Theatre Initiative at
Through Alma, I hope the audi-
dreds of young women have been
To play Alma, a young native six-
is nothing cheerful about Braided
Sorrow. The audience will see Alma
Keep off the Grass
teen year old, I had to imagine myself
get abused, raped and murdered. Dr.
Woodbourne Correctional
A Summer in Uganda
as a teenager who gives up her
Marín believes that “through telling
Facility
Rediscovering the Language of
dreams to help her family. Having a
their (the women of Juárez) stories
Latino background myself helped, as
we are paying respect to the lives of
the notion of family always comes
the women. Through education we
Faculty Spotlight
first in our culture. What I did not
can hope to have an impact on end-
Dr. Edie Demas: Leader in the
expect was to develop a character
ing the femicide in Ciudad Juárez,
who would place herself in danger to
and throughout the world where
support not only her parents back
human rights are being violated.”
Under Heathcote’s Mantle of the
Aesthetics in Brazil
Expert
A Report from the Field: IDEA
6th World Congress of
International Drama/Theatre
Field, Friend of the Program
and Education Association
On Stage: Department
Productions/Student Works
Staging Femicide through
Braided Sorrow
Instant Gratification Play Festival
Performing My Experience
Alumni Spotlight
home, but her brother and his wife
Path to Success: An Anecdotal
and their unborn child. Yet this is not
I wondered why Dr. Marín chose this
uncommon for the hundreds of
particular script. I can only imagine
women who work at the maquilas,
how hard it must be to direct a play
factories or assembly plants that
that deals with the harsh reality of
operate in Mexico under preferential
unnatural death. After speaking to
tariff programs established by the
Dr. Marín, I realized this play was not
U.S. and Mexican governments.
a coincidence. This has been her
Unfortunately, these sacrifices have
passion; to educate others through
led many of these young women to
theatre on the atrocities occurring
their untimely deaths, “The deeper
near the US-Mexico border. Before
How-to Guide after Graduation
Former Undergraduates Take On
the Real World
Where Are They Now? Profiles of
Recent Alumni
Gods and Actors: Gender and
Justice in The Eumenides
Shalom Sahbity (Peace My
Friend)
Spring Events Calendar
content of the subject matter also
After reading Braided Sorrow,
continued on page 4
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 3
Study Abroad: Keep off the Grass
continued from page 1
units designed to incorporate the
get much greener—to engage in
dramatic strategies we had learned.
practical workshops, hands-on
I personally took just as much away
drama-in-education experiences,
from observing my cooperating
community-engaged drama, and an
teacher and working with the stu-
endless number of possibilities.
dents as I did from listening to the
Over the course of three weeks, the
masters. In addition to workshops
students in London, under tutelage
and school visits, we traveled to
of Nan Smithner and Desiree
Stratford-upon-Avon and
Hamburger, explored the definitions
Shakespeare’s Globe to pay our
and applications of role in local
respects to the Bard and to watch
British schools and the Unicorn chil-
two very different interpretations of
Magill. I appreciated learning so
dren’s theatre. Over another three
his work: an absurdist moderniza-
much about Irish culture and histo-
weeks, students in Ireland, studying
tion of Macbeth at the Swan
ry through this program; it added a
with Philip Taylor and Jerry Maraia,
Theatre and an Elizabethan repro-
human quality to the work that I
took a broader look at applied the-
duction of Othello at the Globe.
feel is often taken for granted when
atre practices beyond the class-
During the final week, we teamed
working with familiar populations.
room—including living history
up with Cecily O’Neill and the artis-
theatre, environmental theatre,
tic staff of the Unicorn Theatre to
grass, and the keeping-off thereof.
prison theatre, and community-
lead a workshop with primary
In the final week of the Dublin pro-
devised work. In addition to con-
school students around the play
gram, we split into two groups to
tributing to hands-on group
Kindertransport.
work separately on community-
projects, students took copious
Likewise, the Dublin program
PHOTO BY TYSON SCHRADER
Belfast—where the grass doesn’t
PHOTO BY TERESA FISHER
Students rehearsing in Dublin, Ireland
This brings us back to the green
devised projects—on one side, a
notes of everything they witnessed
exposed us to many more experts
collective play; on the other, site-
and reflected on their experiences
in the field. Continuing along the
specific theatre. Those of us in the
Tyson Schrader helping out students in London,
England
As he recited a poem, the rest of
the actors approached him while
chanting, “Keep off! Keep off! Keep
off!” They then lifted him up and
in academic journals.
carried him off the field. I was so
One of the benefits of such
short, intense programs was the
sheer number of practical strategies
In London, we were finally able to meet the
people our professors talk about, the ones who
moved by this image—which my
fellow audience members and I
observed from a far-off vantage
we learned from practitioners. In
London, we were finally able to
wrote every textbook we read in our classes …
point—that I couldn’t help tearing
up. To me this served as a
meet the people our professors talk
metaphor for how arts education,
about, the ones who wrote every
textbook we read in our classes:
theme of drama-in-education,
former locked ourselves in the
Jonothan Neelands, Judith Ackroyd,
Joanna Parkes showed us how to
Samuel Beckett Centre for days on
Cecily O’Neill, and Dorothy
structure pre- and post-show work-
end to create characters, settings,
Heathcote. Neelands “whooshed”
shops around theatre performanc-
scenes, and an hour-long play from
us through a fun and engaging
es; Declan Gorman gave us a taste
scratch. After presenting the play in
story drama; Ackroyd challenged us
of site-specific theatre at the top of
a staged reading, we were pleased
to think about the degree of acting
the Cooley Mountains; Bisi Adigun
when many of our peers and teach-
involved in teacher-in-role; O’Neill
introduced us to his African-Irish
ers echoed the sentiment that no
directed one of her patented
theatre; and Chrissie Poulter helped
one could tell who wrote which
process dramas; and, of course,
us fine-tune our facilitation skills. In
scenes—the play sounded like “one
Heathcote transformed our meeting
the second week, we traveled north
voice.”
place into an abandoned sewing
to Queens College in Belfast, where
house through which we “expertly”
David Grant gave us a tour of the
explored and declared their space
dug and dusted for clues about its
once-divided city and later led a
throughout the Trinity College cam-
past. When we weren’t attending
Theatre of the Oppressed session.
pus, performing a series of
workshops, we got our hands dirty
Further visits in Belfast included
Meanwhile the other group
vignettes, physical theatre, dance,
doing what we’re meant to do:
a homeless youth hostel and a max-
songs, and poetry. These were
teach! Under the guidance of a pro-
imum-security prison, both of
woven together by an “unofficial
gram tutor, small teams ventured
which host a forum theatre group
tour guide,” who abandoned us at
into London primary and secondary
and a Shakespeare project, respec-
one point only to return later in the
schools to implement three-day
tively, under the direction of Tom
middle of a roped-off green area.
applied theatre, and creativity are
treated in a world of competition,
accountability, and product. Seeing
this performance alongside my
group’s community-devised piece
pushed me to reflect on the possibilities of drama. After going
through such an intense six weeks, I
had grown by leaps and bounds as
a facilitator, an educator, an artist,
and a person. I was now inspired to
return to the United States with my
newfound strategies and trample
on the grass of the unknown, the
marginalized, the contradictory, in
spite of that familiar oppressive
sign. In the world of applied theatre, I invite you not to keep off the
grass.
4 NEW YORK UNIVERSITY
Braided Sorrow
FACULTY SPOTLIGHT
continued from page 2
this production, she directed Rubén
artistic representations of the situa-
Amavizca’s Spanish language play,
tion in Ciudad Juárez. A good exam-
Las Mujeres de Juárez, which was
ple of this would be Lourdes
originally staged for Teatro Bravo in
Portillo’s documentary, Señorita
Phoenix, Arizona. The play was also
Extraviada, which all of the members
produced in Reno, Nevada; Puerto
of the ensemble watched.”
Peñasco, Mexico; and performed in
Performing at PCAR was only the
Tucson, Arizona for the Western
beginning. La Herencia Latina and
Regional Conference of Amnesty
the Explorations Floor “Tourism
International U.S.A. Upon finishing
Through Photography” sponsored a
her work with Las Mujeres de Juárez,
presentation of Braided Sorrow on
she began looking for a new script
November 11, 2007, at NYU. Dr. Marín
that would help her pursue her goal
hopes this play will become a full-
of educating others about the situa-
scale production. In addition, she
tion in Juárez. “Marisela’s play was
hopes to bring this play to schools
recommended to me by Enrique
and develop an educational curricu-
Urueta, another Latino playwright,
lum guide dealing with the topic.
who spoke very highly of her work.
She would also like to see more stu-
He put us in touch and she sent me
dents from the NYU community get
the script. After reading it, I was
involved, “We need assistance in
determined to begin working on it
many different aspects of the play,
because I believe there are so many
the educational piece, publicity,
interesting layers to it as a dramatic
design, and getting the word out to
text, a performance piece, and an
different communities so that we
educational resource.”
could come and perform the play
Shortly after finding Braided
and facilitate workshops.”
Sorrow, Dr. Marín was invited by the
“From my experience I believe
Pennsylvania Coalition Against Rape
this play has the potential to spark a
(PCAR) to run a workshop at their
dialogue and an interest in people
national conference in September.
about the kinds of injustices being
Instead she chose to direct and pres-
perpetuated beyond our borders in
ent a staged reading of this play. “I
the broader global context. It is my
asked them if I could develop a per-
hope that people who see this play
formance piece instead, to raise
at NYU would go out and become
awareness about the situation in
more educated about the topic and
Ciudad Juárez and they were very
begin to talk with people they know,
excited about the project.”
For Braided Sorrow to become a
creating a ripple effect of action,”
said Dr. Marín. Her hope became a
reality, Dr. Marín had to cast volun-
reality as over 80 people attended
teer actors to play the roles in the
the staged reading at NYU and over
staged reading. She posted
30 of them stayed afterwards for a
announcements on various e-lists
talkback on Juárez. Some of them
around campus. After various meet-
even offered solutions and others
ings, she finally found a cast willing
found inspiration to educate not only
to commit to rehearsals in her apart-
themselves but also people who
ment and travel to the conference to
were not at the performance. This
do the show. Many of her actors had
play has touched not only the souls
never even heard of Juárez; even
of its director, actors, and audience,
less about the situation there. To
but also all of the people it repre-
educate us, Dr. Marín opened her
sents each time it’s read or per-
heart and provided us with resources
formed. Hopefully, that soul will
that would awaken our minds to
awaken us to fight for the rights of
recreate these characters. She
the women in Juárez, and stop the
explains, “I try to provide the cast
femicide — ¡Ni Una Mas!
with materials through the research I
have done on the subject and other
Dr. Edie Demas —
Leader in the Field,
Friend of the Program
By Victoria Row-Traster
“I have known Edie since graduate school and she has always impressed
me with her passion, intelligence, and integrity. I am always impressed
with her ability to balance the seriousness of our work with the hilarity of
life. Her work at the New Victory continues to lead the field as an example of quality arts education.”
— Russell Granet, Arts Education Resource
“Edie taught me how to best present myself as a professional teaching
artist. Through her expertise, Edie guided me on how to market myself so
that I accurately represented myself as the professional that I am. Her
course, “The Teaching Artist,” encapsulated everything I learned in graduate school so that I was more than prepared to enter the work force of
teaching artists in New York City. She was extremely supportive and
encouraging of all the students in the class, and we all felt confident to
pursue our goals after taking her course.”
— Annie Montgomery, alumna
Many of you know Dr. Edie Demas’ name because your peers have
undoubtedly urged you to take her classes at NYU. She is also a
distinguished alumna of the program and is currently the Director of
Education at the New Victory Theater.
After graduating from the NYU Master’s Program in 1990, Dr.
Demas was invited to Ireland where she worked with the Graffiti
Theatre Company and the Abbey Theatre until 2001. Upon her return
to New York she almost simultaneously became the Director of
Education at the New Victory Theater and a PhD candidate at
Steinhardt. There are not many people more entwined in the educational theatre field in New York City. She has become a strong advocate for drama/theatre education. Through her numerous invitations
to speak at conferences and her role on countless panels, Dr. Demas
constantly raises the profile of arts education and successfully highlights the value of teaching artists in schools. She sits on the board of
the NYC Arts in Education Roundtable, and she has been fundamental
in the writing and implementation of the NYC Department of
Education’s Blueprint for Teaching and Learning in the Theater Arts.
She knows how essential it is to remain in touch with the latest
developments in the field. She recently attended IDEA’s Sixth World
Congress in Hong Kong, where more than 1,200 people from over 50
countries joined together to encourage international dialogue to support arts education around the world. She co-presented with Dr.
Jonothan Neelands, whom she first encountered as a graduate student on the Educational Theatre study abroad program in the 1990s.
They presented on the nature of building ensemble among teaching
artists within arts organizations.
Dr. Demas tirelessly pushes the New Victory Theatre’s Education
Department to follow her lead in supporting the arts in the public
schools. There is not a better advocate for our profession than Dr.
Demas because she makes people feel her passion, ensuring that arts
education is a mainstay in schools throughout the area.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 5
Happenings
NEW YORK UNIVERSITY AND REHABILITATION THROUGH THE ARTS PRESENT
The Prison Theatre Initiative at
Woodbourne Correctional Facility, Woodbourne, NY
By Dr. Philip Taylor
The program was pleased to
host a prison theatre forum on
Tuesday, October 30. Speakers
included Linda Hollmen, Director
of Education, New York State
Department of Corrections;
Katherine Vockins, executive
PHOTOS BY EDMUND CHOW
director, Rehabilitation through
the Arts (RTA); Rory Anderson,
RTA alumna who was incarcerated for 25 years; and Jean King,
Deputy Superintendent,
Deputy Jean King delivers a spirited
speech…
Woodbourne Correctional
Facility (WCF). The forum
launched a prison theatre initiative; details follow below.
Project Background
The NYU Program in Educational
Theatre, established in 1966,
embraces the idea that theatre
can be a powerful transformative
agent enabling all participants,
actors and audience members
alike, to develop important life
skills and healthy human interactions, as well as providing opportunities to learn about the
history, criticism and design of
theatre art. Rehabilitation
Through The Arts is a non-profit
organization, founded in 1996,
which believes in the inherent
value of every human being,
including criminal offenders and
the need for replacing the current punitive criminal justice
incarceration system with a
restorative approach. RTA offers
incarcerated individuals the
opportunity to build social, communication, language, literacy
and leadership skills and to gain
knowledge and respect for self
and community.
At the invitation of RTA, the
… Which elicited excited responses from the research class.
two programs came together to
create a unique prison theatre
dance drama, to devising applied
experience for the inmates at
theatre productions for the
alike — to develop important life
WCF. Drawing on principles
prison population. These and
skills and healthy human interac-
dent) and audience members
which guide the NYU education-
other genres of theatre activity
tions, as well as providing oppor-
al theatre mission and guidelines
promote a process of discovery
tunities to learn about the
embraced by RTA, NYU faculty
and exploration, as well as cele-
history, criticism, and design of
and student interns have regular-
brate the power of artistic per-
theatre art. The collaboration
ly traveled to Woodbourne
formance and production.
provides a unique fit, as both
Correctional Facility to design,
Prisoners have written and per-
partners understand how theatre
implement and assess sustained
formed monologues, studied and
can contribute to educating and
theatre experiences with a col-
created theatre texts, explored
rehabilitating those most at the
lection of prisoners interested in
styles of acting and directing,
margins of society.
a theatre-based program, similar
and have been involved with
to ones already created by RTA
devising innovative forum the-
NYU/RTA prison theatre initia-
in three other New York State
atre for the process of social
tive at WCF is that involvement
prisons.
change. The Initiative enables
in the arts can lead to productive
prisoners to make, present, and
discoveries about self, others,
of eight men in November 2005,
evaluate theatre, and to examine
and the world in which we live.
the number of prisoners has
how theatre operates as a com-
grown to over 20 in two years.
munity art form.
Beginning with a core group
These inmates commit to the
The guiding mission of the
If interested to learn more
about this initiative, and a way
you might contribute to it,
principles of the collaboration
Mission Statement
please contact Philip Taylor, PhD,
between NYU and RTA, which
The NYUY/RTA Prison Theatre
Director, NYU Program in
honors theatre as a medium for
Initiative commits to the idea
Educational Theatre,
change. Prisoners have been
that theatre can be a powerful
212 998 5868, or Katherine
involved in a range of practical
transformative agent and
Vockins, Executive Director,
theatre activities, from dramatic
enables all participants — actors,
Rehabilitation Through The Arts,
improvisation, to mime and
volunteers (faculty, staff, stu-
914 232 7566.
6 NEW YORK UNIVERSITY
Happenings
UNDER DOROTHY HEATHCOTE’S MANTLE OF THE EXPERT
rience by stating that after the
By Leah Stallard
ceremony he and his brothers
had just blown everyone up. A
collective sigh filled the room, as
many of us felt annoyed and
taught by Dorothy Heathcote, a
maybe even a little angry at this
master teacher from England,
boy’s words. And yet,
whose pioneering work with
Heathcote, in her infinite quest
role-play and process drama has
to never let a student get away
inspired teachers from around
with such nonsense, gently, but
the world. Her workshop,
immediately, identified his
“Teaching Through Drama,” was
actions as self-indulgent, and
a weeklong session filled not
then proceeded to point out that
only with instruction, but also
unfortunately, in today’s world,
PHOTO BY LEAH STALLARD
I had the privilege of attending
an NYU summer workshop
inspiration. We, as educators,
joined a small group of high
school students in a brief exploration of the human experience.
We were allowed to do so
through a creation of
Dorothy Heathcote, left, with Dr. David Montgomery and a student after class.
things like this do happen.
Innocent people are killed and
lives are affected through the
inevitable consequences of
someone else’s horrific choice.
Heathcote did not brush off
Heathcote’s own making: a
the implications of what this
teaching model called Mantle of
young man said. Instead of sav-
the Expert.
From the very beginning,
Heathcote reminded us that
drama is never just play. It is one
degree of separation from real
ing him from his consequences
… Heathcote reminded us that
drama is never just play. It is one degree
and brushing off the comment
by quickly moving on, she
addressed the situation, taking a
of separation from real life.
life. Yet that one degree is criti-
sour note and incorporating it
into a part of the whole. By
cal because it fosters self-evalua-
responsibility to them, we were
students’ trust more quickly and
doing so, she accomplished her
tion, or “self-spectatorship,” as
gently reminded that teachers
reassure them that she was
ultimate goal— to inspire the stu-
Heathcote calls it. This enables
teach, but students educate. This
indeed transferring the power
dents to take responsibility for
the observers and the partici-
occurs when teachers stop
over to them. She allowed the
their own learning, and to teach
pants to think about their choic-
regurgitating what they know,
students to feel valued. Their
them that accountability is an
es and consequences. They have
and instead inspire students to
opinions and thoughts were just
integral part of evolving from a
the power to act and they are
attain their own knowledge. We
as important as her words.
child to an adult. I am grateful
not just objects to be acted
witnessed this as the students
upon. In other words, drama
began to adapt scenes from The
moment of the week occurred
trip “across the pond” from her
teaches us to take responsibility
Georgics by Virgil as a form of
on the last day, as the students
native England, give her time,
for our choices, and does so
play. While the students were
labored to encapsulate their
and remind educators that
within an environment that is
busy with their “play,” the sub-
experience with a ceremony to
drama is a perfect tool for inspir-
safe and protected.
jects of history, geometry, hus-
welcome new workers (us) into
ing not only youth, but us as
bandry, psychology, social
their group. The students creat-
well.
approach to learning takes the
studies and science all played a
ed a world within a vineyard. To
responsibility off of the teacher
part in the learning process.
finalize the enactment, they
and places it where it belongs—
Heathcote used role-play
The Mantle of the Expert
Probably the most instructive
decided upon creating a closing
with the students. By watching
quite often. She was never afraid
ceremony, in which we would all
Heathcote work with her stu-
to jump in and out of it frequent-
participate. A young man
dents, gradually transferring
ly. This enabled her to gain her
attempted to cheapen the expe-
that she was willing to make the
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 7
Study Abroad: A Summer in Uganda
Along with two of my fellow
By Catherine Hanna
EDTC masters students, I was in
study-abroad, but also as part of
has been a civil war in Uganda
the Teacher Exchange Program, an
between the Lord’s Resistance
initiative developed by Amy in con-
Army (LRA), a rebel army in the
junction with the non-governmental
north, and the government in the
organization, Invisible Children,
south. Children in the north were
which was started by the creators
being abducted, brainwashed,
of the video. The program part-
taken as soldiers, and then asked to
nered American teachers with
perform the most unthinkable acts
Ugandan teachers with the hope
of war, even to the point of killing
that a cultural and pedagogical
their own parents to prove their
exchange would take place that
loyalty. Those children who man-
would generate fresh ideas and
aged to avoid or escape the army,
methods of classroom teaching and
spent their lives in hiding; unable to
learning.
go to school or engage in normal
I had the privilege to teach
activities without the ominous
English with a wonderful Ugandan
threat of abduction.
teacher named Helen. She not only
In November of 2006, doctoral
PHOTOS BY AMY CORDILEONE
Uganda not only as part of the NYU
For more than twenty years, there
Catherine Hanna (right) with a classroom teacher in Gulu, Uganda.
took me in as a partner, but as a
student Amy Cordileone showed
friend. Together, we found ways to
our World Drama class a video
merge our ideas of creative and
called Invisible Children, which told
critical pedagogy. Her expertise of
the story of the child soldiers in
the Ugandan curriculum, history,
Uganda. It was a heartbreaking film,
and culture, and solidarity in our
While the Ugandans had intense stories
of suffering, they did not need or want
to be patronized by our “swollen eyes,
runny noses, and sinking hearts.”
and when the lights came on to
compassion for the students made
reveal our swollen eyes, runny
for a rich and rewarding exchange.
noses, and sinking hearts, I
It was humbling to stand beside her
wondered how such atrocities
each class, before 80 to 100 stu-
could constitute the whole of some
dents, each affected by war. I was
child’s reality? What, if anything,
able to connect with the students
could I do?
through the use of poetry, conver-
more familiarity, and by the end of
easily. They are hospitable and gen-
sation, image theatre, and the
our stay, I could sit in the grass with
erous with their guests. And like
Amy explained that she and her
imagination they brought into their
them during lunch and talk about
anyone else, they are seeking edu-
colleague — fellow doctoral stu-
assignments.
everyday things. It felt as if we had
cational opportunities and a chance
truly become friends.
to be heard. The program in
Seth Finkle leading a class in discussion
As if to answer my question,
dent, Kevin Bott — were creating an
The other American teachers
All in all, it was the relationships
Uganda allowed me to share the
educational theatre pilot study-
and I also joined the after-school
abroad program in northern
dance club, where we engaged in
with the teachers and the students
gifts that I have been given during
Uganda. They were looking for
cultural exchange through dance
that had the most profound affect
my studies in the Educational
three or four students to accompa-
and music. When I first arrived, they
on us. While the Ugandans had
Theatre program.
ny them on this initial venture.
laughed at my clothes and asked
intense stories of suffering, they did
Before I knew it, I was in northern
me to sing and dance like Shakira,
not need or want to be patronized
Uganda, unpacking my things
as if I was a walking MTV video. But
by our “swollen eyes, runny noses,
and settling in for a five-week
as the weeks went by, the children
and sinking hearts.” They seemed
adventure.
began to regard us with a little
to be resilient people who laugh
8 NEW YORK UNIVERSITY
Alumni Spotlight
FORMER UNDERGRADUATES TAKE ON THE REAL WORLD
greater understanding of teaching
young people as part of the same
Steppenwolf Theatre. Recently Erin
theater in New York from Caitlin
theatre program she participated in
Funck (‘04) relocated to the city
Heibach, Sarah Bellantoni, and Jay
as a child. While on visits to the
and has found a job that combines
Immediately following graduation, I
Diminich (‘05), all of whom have
area, I have been able to observe,
both her undergraduate and gradu-
began a full-time position at the
been teaching drama in New York
participate, and even assist Mary
ate studies as a Research
New Victory Theater where I
schools since their graduation.
By Christina Zagarino
worked as both an apprentice and
Scott Lupi (‘07) works in the edu-
part-time assistant for a year. I felt
cation department of Periwinkle
so fortunate to begin my arts edu-
National Theatre developing cur-
cation career at such a prestigious
riculum and teaching in addition to
institution and with people who are
his administrative duties. Heather
so fully immersed in the arts educa-
Heels (‘06) also works in arts
tion community and culture. My
administration and has taken par-
colleagues at the New Victory
ticular interest in the not-for-profit
Theater welcomed me and support-
sector at Theatre Communications
ed me as a new full-time member
Group as the National Conference
with her weekend dance and acting
Coordinator for Slover Linett
of the company.
Assistant.
classes.
Strategies, an audience research
Interestingly, since graduation I
I have also begun to learn about
Many of my college friends, collaborators,
and mentors have acquired jobs in different areas
of arts education and have proved to be
a wonderful resource for advice…
Also on the East Coast is
and planning firm for cultural and
have started to feel a great sense of
the different theatre communities
Jennifer Nario (‘07) who has an
support from not only my work
outside of the New York City area.
apprenticeship with Hartford Stage
community, but also the
Only a few miles away, Alex Sarian
Company in their education depart-
often hear them say how much
Educational Theatre undergraduate
(‘06) will begin working in the edu-
ment. As part of the apprentice-
they miss their college years and
alumni. I have discovered that many
cation department of Playwrights
ship, Jennifer works
wish that they could return to them.
of my college friends, collaborators,
Theatre of New Jersey, where I par-
administratively in the department
I, too, miss my time at NYU.
and mentors have acquired jobs in
ticipated in an annual writing work-
while continuing to exercise her
However, I am grateful to be work-
different areas of arts education
shop and showcase as a middle
teaching abilities.
ing somewhere that encourages me
and have proved to be a wonderful
school student. This theatre pres-
resource for advice, new discover-
ents fresh pieces for New Jersey
ence of the NYU Educational
ies in the field, stories of interesting
audiences of all different ages.
Theatre young alumni network
Program prepared me for this posi-
stretches into another city of great
tion, and I feel confident that I will
began teaching theatre with middle
theatrical importance, Chicago.
continue to grow as an artist, edu-
and high school students at a char-
Kelly Delaney (‘06) works at the
cator, and human being.
ued to connect with many of my
ter school outside of Philadelphia,
Goodman Theatre and also has an
former peers. I have gained a
while teaching weekend classes to
apprenticeship with the
student interactions, and even job
recommendations.
In New York City, I have contin-
Mary Filippone (‘06) recently
Reaching even further, the influ-
educational organizations.
When catching up with friends, I
to use those experiences. My time
in NYU’s Educational Theatre
Path to Success: An Anecdotal How-to Guide for after Graduation
Despite that “impending doom”
workforce. I’ve watched some of
nities and countless real-world
feeling so well-harvested during
my older friends move back home
adventures. From the time I fin-
my last semester at NYU, I’ve
after college, unemployed, gaining
ished class in December to my ini-
All of a sudden, I’m a college
found “doom” to be quite lucrative
weight, and waiting for something
tial interviews for work, I’ve been
graduate! No longer can I roll out
as a college graduate.
to happen. I’ve seen former gradu-
prepared to face my path. If there’s
ates leave school and apply for
one thing NYU’s Program of
By Jaclyn A. Silvestri ‘06
of bed and walk to class in torn
For some reason or another,
jeans and ironic t-shirts. The days
post-college life has universally
jobs they feel suit their degree and
Educational Theatre taught me, it
of Thursday-Night-Theme Parties
been presented to me as some
abilities, only to wind up strug-
is self-reflection.
are over. My expectations have
sort of looming, scary, spiraling
gling financially and emotionally.
shifted from “making the grade” to
pit-of-reality. The age-old question
“making the paycheck” and from
writing papers to grading papers.
In January, I was hired as a
Maybe I’m just one of the lucky
maternity leave replacement at
of “Now what?” plagued me as a
few, but my post-graduate months
The Dwight School. Though my
twenty-one year-old entering the
have been full of amazing opportu-
continued on page 11
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 9
Where Are They Now?
Happenings
Profiles of Recent Alumni
A REPORT FROM THE FIELD: HONG KONG SUMMER 2007
IDEA 6th World Congress of International
Drama/Theatre and Education Association
James V. DeVivo, (MA EDTC) 2001, was promoted to Director of Education
at Playwrights Theatre (NJ) in September 2007.
John Shorter, (MA) 1993, recently received
the Rod Marriott Life Time Achievement
and China, and converged in
Award from the New York State Theatre
Hong Kong, a wildly-paced city
Education Association at their annual con-
where, in the words of IDEA
vention. John has served as President and
This summer I journeyed to
president Dan Baron Cohen,
Vice President of the organization on several
Hong Kong to attend the IDEA
By Dr. Nan Smithner
“…the future has fixed its ques-
different occasions.
conference, where I was excited
tioning gaze in a mixture of
School Theatre Program Director at
to participate in the enormous
Confucian clarity and postmod-
Manhasset High School for thirty years
contemporary global enthusiasm
ern cool.”
before retiring a year ago to become the
for theatre education. I was, in
I attended a special interest
He was the Secondary
Educational Sales Division Manager at
the words of Secretary of Home
group entitled: “Educating Local
Rubie’s Costume Company, Inc. His award is
Affairs Tsang Tak-sing, “…
Teachers for Drama/Theatre:
inscribed “For his countless hours of sharing
inspired and galvanized into
What are the Relevant Choices
his passion for theatre with students and
learning and furthering the mis-
from Global Practice?” Therein
teachers, to whom he was devoted through-
sion of drama/theatre and edu-
teachers and professors from
out the course of his career and thereafter.”
cation for our younger
around the world discussed cur-
One of John’s former students, Babylon High School theatre director and
generation to command an
rent challenges and possibilities
English department chairperson, Lisa Drance, gave a very moving speech
essential communicative lan-
for teacher education. Another
about him at the awards ceremony.
guage.” The discussion of best
highlight of the conference was a
practices in our field was
panoply of performances from
Steve Press (MA) 1967, was just given an Endowed Chair in Holocaust and
addressed by a global group of
international performers and
Genocide Studies from Dutchess Community College (SUNY), Pough-
performers and educators, all
youth groups from the
keepsie, NY, where he teaches theatre and directs productions. He just pub-
who openly acknowledged the
Philippines, China, France,
lished an article in Congress Monthly, the magazine of the American Jewish
value of creative, aesthetic, and
Taiwan, Peru, Malaysia, Thailand,
Congress entitled, “The Voice from the Secret Annex.” He originally wrote
kinesthetic intelligences, as well
Korea, Macao, France, India, UK,
the article for the 50th anniversary of the original Broadway production of
as rational skills.
Israel, Brazil, Canada, Italy,
The Diary of Anne Frank. While in his 20s, he played Peter over 800 times
John Shorter and his wife, Dr.
Barbara Shorter
Cambodia and the U.S. Many
under the direction of the great director, Garson Kanin. Dutchess Magazine
which meets once every three
local school groups and perform-
published a profile article about his work with The Diary of Anne Frank. Last
years, was “planting ideas,” with
ers from Hong Kong contributed
May he published an article about musical theatre, “We Love the Musical,”
the inspiration to encourage a
as well.
The theme of the Congress,
cross-fertilization of notions and
for New Standpoints Magazine in France. He is completing a series of lec-
I taught a workshop entitled:
tures for CLS (Center for Lifetime Study) of Marist College. The series is
titled “Everything You Ever Wanted to Know About Theatre.” He is prepar-
visions in our field. As the
“Physical Theatre: Devising
Chinese saying goes, “It takes ten
Original Work with Youth and
ing to direct a new production of Shakespeare’s Merchant of Venice, part of
years to grow trees, but a hun-
Community Groups,” with 25 peo-
his work for the Endowed Chair. He is inviting Ms. Anna Sommer from
dred years to cultivate people.”
ple from many different countries.
Poland, an expert on Auschwitz. The production will show that the roots of
In this very fertile setting, artists,
I invited them to improvise in
the Holocaust were already well established in Shakespeare’s Europe. His
teachers, community develop-
their own languages and create
children’s play, The Spider and the Bee, published by Samuel French, Inc.,
ment workers and activists met
original material on dreams, and
still gets many productions around the country. The Spider and the Bee was
also on the subject of “Time,”
written while he was in graduate school at NYU. The “late, great Professor
workshops, round tables, paper
which was chosen by the group.
Lowell Swortzell” was his teacher and the play was written for one of his
presentations, discussion groups
My workshop was met with great
classes. Equity News will publish a short piece he wrote about West Side
and performances.
enthusiasm, and was even
Story in their next edition. Plus Back Stage, the theatre trade paper, pub-
reviewed by one of my young
lished a piece he wrote in their Aug. 30/Sept. 5, 2007 edition.
to partake in a feast of keynotes,
When I walked into the conference I was immediately sur-
students in the newsletter that
rounded by a multitude of my
was published daily at the con-
Nicole Losurdo, (MA EDTC) 2005, is the Education Manager at The
former Asian students from the
gress. According to student, Larry
Auditorium Theatre of Roosevelt University in Chicago. Previously,
past 20 years of my teaching,
Ng, “The body expressivity of the
Nic served as Drama Director and then Program Director for a children’s
who have now become teachers
participants was unleashed from
sleep-away camp in Pennsylvania.
and educators themselves. They
the ‘realistic’ bondage of our
were from Korea, Japan, Taiwan
continued on page 11
continued on page 11
10 NEW YORK UNIVERSITY
| O N S TA G E |
Gods and Actors: Gender and Justice in The Eumenides
Clytemnestra’s ghost to commit
By Manuel Brian Simons
murder and incite violence. In such
cases, I support killing in the name
Classical Greek drama reflected the
of avenging a husband and father,
concerns of the society from which
such as Agamemnon. That’s about
it emerged more than twenty-five
honor among men.
hundred years ago. Yet, the
Manuel: Let’s step out of role.
Program in Educational Theatre’s
Ami: This is difficult because I
don’t agree with everything that
directed by Dr. Nan Smithner,
Tisiphone thinks. It’s odd that the
engaged students, theatre artists,
furies only avenge murder of kin. As
and audiences with questions of
a pacifist, I think all human life is
gender and justice that remain rele-
valuable. I disagree with a cycle of
PHOTO BY GRETCHEN DAVIS
production of The Eumenides,
vant today. The production’s fiery
furies, charismatic gods, and hotblooded mortals wrestled with
matriarchy versus patriarchy, and
punishment versus vengeance —
concepts that continue to resonate
in this day and age.
The Cast of The Eumenides
vengeance. It does not address the
heart of the problem, which is the
question: Why does killing occur?
Manuel: It disturbs me that
Apollo believes that some
vengeance killings have a place
within a humane system of justice.
The drama of ancient Greece
As a leftist, pinko, hippie, I am
was both an aural and visual medi-
against the death penalty. I think
um that mesmerized spectators
it’s archaic, racist, classist, and a
with its language and spectacle.
As a leftist, pinko, hippie, I am against
These elements were put to equally
effective use in Pless Hall’s
Blackbox Theatre. Dr. Smithner and
her creative team drew upon
diverse cultural and artistic influ-
highly ineffective crime deterrent.
An eye for an eye leaves everyone
the death penalty. I think it’s archaic, racist,
classist, and a highly ineffective crime deterrent.
An eye for an eye leaves everyone blind.
blind. What do you think you
learned about gender oppression as
a result of working on The
Eumenides?
ences in a re-envisioning of
Ami: I feel passionately about
Aeschylus’ dream-play. The syn-
the role of the furies as strong
chronized choruses, ornate masks,
practice of this educational theatre
and grand gestures of the Greek
mode, I engaged in a recent dia-
amphitheatre were translated into
logue with fellow Eumenides cast
visceral images, expressive physi-
member, Ami Formica. I hoped that
calities, and haunting sound scapes.
our conversation, conducted both
furies indiscriminately punishes only
much of the ancient justice system
Shadow puppetry, toy theatre,
in and out of role (as the god
those who murder a blood relative.
was based on the devaluing of
post-modern dance, storytelling,
Apollo and the fury Tisiphone,
Tisihone: If people think they
cinematic devices, and other the-
respectively), would deepen our
can kill their own family, without
blatantly women were “dissed” in
atrical conventions were combined
understandings of gender oppres-
suffering torment at the hands of
The Eumenides, especially by
to create an interpretation of The
sion and justice as portrayed in The
the furies, how can we ensure they
Apollo.
Eumenides that speaks to today’s
Eumenides.
won’t be breaking laws and running
audiences. These cutting-edge aes-
Apollo: The male’s role in sus-
new era of enlightenment!
Tisiphone: (Growls) Why is new
better?
Apollo: The old system of the
wild?
women. The new, chauvinist system
of justice as promoted by the
younger gods Athena, Apollo, and
Hermes silences women. Essentially,
women. It was a shock to see how
Manuel: Yes, it’s awful and so
overt!
thetics served to highlight pertinent
taining life and creating order
questions about gender oppression
should be more fully acknowl-
system of justice in which humans
how wild, bestial, and free I could
and the enactment of justice in
edged. As one of the new gods, I
are tried by a jury of their peers—as
be as a fury, which is so different
contemporary society.
believe that this change needs to
long as that jury is made up entirely
than how women are allowed to
happen to bring about a better,
of men. We see this as more trust-
behave in many cultures. As a
more civilized world.
ing of humans, and more reason-
woman, I’ve learned behaviors that
able.
involve smiling, speaking a little
Steinhardt’s Program in
Educational Theatre encourages
numerous pedagogical and artistic
Tisiphone: This change devalues
Apollo: We new gods propose a
Tisiphone: A court system in
Ami: Nonetheless, I really loved
approaches to explore these and
women. As some of the oldest
other types of questions. Peering
gods, the furies represent women.
which a murderer, like Orestes,
“understanding” of people. That’s
through the lens of character is one
Why should women be silenced in
could be set free? How is that rea-
who I am. But, there are other parts
such strategy. Working both in and
this change?
sonable?
of me that are strong, grounded,
out of role, teachers and students
Apollo: It’s about evolution,
Apollo: Well, the furies’ alterna-
higher, and trying really hard to be
and opinionated — parts of me that
can engage in dynamic activities to
growth, transformation. Out with
tive of torture as punishment does
know I don’t have to apologize for
open up distinct and diverse learn-
the old, in with the new! My
not seem reasonable to us. It is
myself. Only through theatre and
ing perspectives. In the spirit and
Priestess will help me usher in this
unjust for Clytemnestra and
continued on page 11
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 11
acting, have I really begun to
we express ourselves can become
access these deeper, stronger parts
compromised in a very serious way.
of myself.
Only as we grow within ourselves
Manuel: As a gay man, I identify
with many of these sentiments,
such as feeling ashamed of myself
Path to Success: An Anecdotal
How-to Guide for after Graduation
continued from page 8
can we access the many facets of
our multi-layered selves.
Manuel: Hallelujah! And, as
“ins” and “outs” of making a
TV show, in particular, how to
degree from NYU has me cer-
write one. Evenings called for
tified K-12, the student audi-
a train-ride back downtown
when I was a young person. I had
you said, theatre has been, and
ences I’ve worked with have
to the internet startup that
what I was taught to believe was a
continues to be a valuable tool to
been either 18 or 8, and noth-
graciously gave me health
terrible “secret,” which meant that I
help liberate these vital parts of
ing in-between. Teaching mid-
insurance and rent money in
automatically had something to
ourselves!
dle school demanded
exchange for my words. I was
apologize for, and to overcompen-
reflective practice, and I was
working 80-hour weeks,
sate for by being extra nice, or
quickly reminded of my own
learning new screenwriting
extra well-behaved, or an over-
drive down that long, hard
software, and lamenting over
achiever.
Special thanks to Ami Formica
road called adolescence. It’s a
the latest issue of New York
for sharing her insights with me
road I’m glad I’ve only had to
Magazine, featuring the insta-
orientation categories are really
during the in and out of role
drive down once, though this
bility and struggle of
oppressive. The fluidity with which
dialogue featured in this article.
new daily dose of raging hor-
American’s most recent crop
mones, self-consciousness,
of 20-somethings. The crazy
and braces brings back many
thing is that despite all the
vivid memories.
work and the long hours, I
Ami: Binary gender and sexual
After ten weeks and a pro-
was happy. Most of all, I was
IDEA 6th World Congress
duction of Grease, I found
thankful for this post-college
continued from page 9
myself back where I had been
cornucopia of opportunity!
in January: searching for work.
pragmatic daily lives that make our bodies merely functional.”
Around June the pilot
On a whim I decided to con-
wrapped, and on my last day
tact actor/comedian Michael
at Comedy Central, I was
stayed on after I left to contribute to a World Creativity Summit. In this
Showalter, whom I knew to be
called in for an interview at
three-day session, innovators in the field joined together to explore creative
based in Brooklyn. In a brief
The Dwight School for a full-
pedagogical strategies for the 21st century. We hope to hear more about
and haphazard email with the
time position. Because of the
their findings in addressing the global challenges and concerns of our time.
subject “Young Jedi for Hire,” I
recommendations received
I also encourage all of you to attend the next IDEA Congress in 2010 in
expressed my need for some-
from both my student teach-
Brazil, which promises to be another extremely inspiring and stimulating
thing to pass the time, and my
ing placement in the third
experience!
list of qualifications included
grade classroom and the head
things like “I’m half-Jewish”
of the Theatre Department, I
and “I make a mean spinach
was welcomed back for the
dip” (which I do, by the way).
07-08 academic year, teach-
Where Are They Now?
Within a week I found myself
ing Drama in grades 6-9, and
working for Mr. Showalter
working through an in-house
Profiles of Recent Alumni
doing menial tasks, like find-
tutoring program with stu-
ing him a summerhouse in the
dents grades 9-12. The year
Hamptons, or deleting emails
has just begun and I can
from other fans that wanted
already tell I’m going to be
Laurie Gruhn, (MA) 1991, is the Assistant Head of School and Head of Lower
to be his assistant. Then a few
really happy here.
School at The Browning School, an all boys’ K-12 school in NYC. She has
weeks later, he got me a job
been there 10 years, and teaches at least one class a year — always using
working with him at Comedy
teacher and part-time come-
techniques of Theatre in Education, whether it is a drama class, an ethics
Central.
dian. I still help out Showalter
I was joined at the conference by colleague Dr. Edie Demas, who then
continued from page 9
class, a health class, or a speech class. She also uses the approaches to
Now, I’m a full-time
I was at Comedy Central
and I conduct research for a
for a few months as a Writer’s
professor at NYU. I’ve even
Assistant on a new pilot
joined a sketch comedy
called Michael Ian Black
troupe! As far as rules for
Translation, along with Neil Postman, Nan Smithner, and Debbie Borisoff. It
Doesn’t Understand. I
being a successful alumnus,
is an interdisciplinary work, and was nominated for “Outstanding
retrieved coffee and tea for
you can count them on less
Dissertation.” In June 2007, she presented at an international conference,
Michael Showalter and
than one hand: follow your
“Staging Translated Plays” at the University of East Anglia in Norwich,
Michael Ian Black on a daily
instincts, take some chances,
England. She accepted a position as a tenure-track full-time Assistant
basis, and occasionally we
do a good job student teach-
Professor at Oklahoma City University, teaching voice, speech and acting in
played Boggle. I learned the
ing, and reflect.
teach teachers. She is in the process of adopting a child from China.
Robin Levenson, (Ph.D.) 2007. Lowell Swortzell was her mentor on Acting in
a BFA program for prospective professional actors.
12 NEW YORK UNIVERSITY
| O N S TA G E |
Instant Gratification Play Festival
By Ryan Weible
“Five playwrights,
On September 15, the Theatrix!
Student Theatre organization pre-
five directors,
sented their annual Twenty Four
sixteen actors,
Hour Play Festival. Earlier that
week, the gauntlet was thrown to
a stage manager,
the students of Steinhardt in the
Program in Educational Theatre
a designer…
with the following prompt: “Five
twenty four hours,
PHOTOS BY ALEX SARIAN
playwrights, five directors, sixteen
actors, a stage manager, a designer…twenty four hours, five plays.
Can they make it?” And make it,
they did.
On September 14th, the playwrights and directors met for the
first time, eager to learn what the
process had in store; each director
armed with an image or object to
spark the creative juices of their
authors; each playwright armed
with nothing more than a blank
page, a vast imagination, and the
determination to compose a tenminute play in less than twelve
hours. Out of a bag, playwrights
five plays.
Can they make it?”
James Webb trying to run away in Your DNA for an A
drew directors, images, and
new play with new people in a mat-
been rehearsed, survived tech, the
objects; directors drew actors,
ter of hours was not only thrilling,
actors were prepared, and the play-
rehearsal spaces, and times; the
but a true collaboration. Everyone,
wrights were ready to see their cre-
metaphoric starter pistol was fired,
from the actors, directors, and
ations receive the gift of life. The
and the writers were off.
playwrights, to the Stage Manager,
plays: Perspective, written by Tom
Teresa Fisher, and the producer,
Hoefner, was directed by Ryan
were in, the directors and actors
Jennifer Miranda Holmes, was filled
Weible and performed by Kyla
arrived, and as soon as the plays
with excitement and a desire to
McCracken, Sarah Pencheff, Erica
were handed off, rehearsals began.
make the plays come to life.
Giglio, and Michael Tyrell. It tells the
The next morning, the plays
The combination of discovering a
By that night, the plays had
story of two artistic roommates try-
PERFORMING MY EXPERIENCE
for social change to share and
to express my stories both verbally
there were no Japanese or Indian
dramatize their stories, it has been
and non-verbally through a combi-
actresses who came to audition.
some time since I’ve had the possi-
nation of movement and text. My
While I entertained the possibilities
Three months ago, I returned home
bility to share, dramatize, and per-
initial design for this piece excluded
of casting individuals of other
from the most beautiful, cultural,
form my own stories. Therefore,
text, yet as the piece evolved, the
Asian and South Asian descents, I
educational, and life-enhancing
participating in Theatrix! has been
words came as necessary wings to
felt it was important to cast these
year of living, working, traveling,
an absolutely rewarding experience.
carry the play forward. My goal in
roles with women who were able
volunteering, learning, and explor-
It allowed me to fulfill my dream of
creating this piece was to embody
to connect to, and authentically
ing in Japan and India. I was filled
writing, directing and acting in my
elements of the conflicting and
represent, the cultures that defined
with so many stories and moments
own play, and reminded me how
beautiful moments in each country.
my play. A serendipitous subway
to share, yet missing the pieces to
important it is for me as a teaching
I aimed to shed light on the experi-
ride and Craigslist ad later, I was
completely express the depths of
artist to create theatre and continu-
ences that made me question these
fortunate to find two women who
my experiences. This weekend, as
ally find new ways to share my
societies, myself and my presence
perfectly fit the roles. With their
part of the Theatrix! Festival, I
work.
within them, as well as those that
enthusiasm, the piece was truly a
inspired education and growth.
joy to direct. Hiromi, who played
By Naomi Tessler
received the gift of being able to
External Introspection is the first
share these stories and these expe-
piece I’ve ever written/devised for
riences with an open audience will-
the stage. Its inception broke
essence of my discoveries in these
to study dance and English.
ing to travel back to these
through the barriers of my former
countries, I was adamant in seek-
Working with her was like a contin-
countries with me.
habit of growing bored with my
ing my intended cast: a Japanese
uation of my teaching experience
ideas after writing one scene, and
woman, an Indian woman, and
in Japan. I had to be cognizant of
taught me to believe in my abilities
myself. I was panic struck when
directing her part, breaking it
As a theatre educator who
encourages others to use theatre
To genuinely recapture the
the Japanese woman, moved here
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 13
ing to understand each other and
to “take one for the team.” Finally,
accept their differences or similari-
Homage to Edvard Munch, written
ties. Fraternizing With The Enemy,
by Joe Salvatore, directed by Britt
written by John Socas, directed by
Shubow and performed by Honey
Daphnie Sicre, and performed by
Goodenough and Manuel Simons,
Randi Gordner, Gretchen Davis,
examined love in the era of internet
Meghan Riley, and Lauren Hanna,
dating.
dealt with harassment through the
Each and every play was beau-
humiliation of hell week and pledge
tifully conceived, superbly acted,
night at a sorority. The Full Panty, I
and brilliantly directed; it was an
Mean Knickers (A Bawdy Northern
honor to participate in this event. It
England 80’s Revue), written by
was a thrilling experience and
Marisol Tirelli Rivera, directed by
every person involved reminded
Tyson Schrader and performed by
me why I love being an artist and
Michael Lopez Saenz, Marilyn Cole,
an educator: the joy, the passion,
Erin Ronder, and Amy Cordileone,
and support are palpable and
brought the audience to a different
invigorating.
era. In the midst of a karaoke show,
80’s music and styles are explored.
Your DNA for an A, written by Erin
E. Phraner, directed by Aminisha
Ferdinand and performed by James
E. Webb and Kristin Stadelmann,
proved that sometimes DNA is
more important than love. As a top
football player seeks assistance
from a nerdy biology student, he is
confronted with the idea of having
Erica Giglio, Sara Pencheff, and Michael Tyrell in Perspective
Alex Sarian and Lisa Vasfailo in The First
Cigarette
The First Cigarette
enough to explain certain scenes;
the play was a tedious process, yet
whether my kabuki performance
Nacho truly managed to bridge
would do my sensei justice, and I
each moment together.
wished I took Dr. Smithner’s physi-
Friday night’s performance of
cal theatre class to make the bath-
External Introspection allowed me
room scene I mimed more
to revisit and reconnect with these
believable. Having Anna Scanlon as
countries and my experiences
my assistant director to oversee
within them. Performing this piece
and inform my decisions was cer-
taught me to trust my abilities as a
tainly valuable, and overall, I was
theatre artist and to offer audi-
overjoyed with having the ability to
ences a chance to embark on an
perform my stories. I decided to
emotional and entertaining journey.
focus more on conveying my mes-
This entire semester, I’ve heard
sages, rather than being too self-
Russell Granet insist that, as
critical.
teaching artists, it’s important to
Nacho Nason was a gem in
maintain our art. Until I was actually
awakening the piece with his sound
performing Friday night, I did not
great opportunity to collaborate
and music direction. His musical
comprehend the truth in this
with a talented actress who shared
choices accurately captured the
notion.
similar experiences. The most chal-
moods I was trying to establish and
Working with Giselle, an acting
lenging part of directing this play,
enhanced the emotional quality of
beginning of my path. I am thankful
student at the New School, who
was directing myself. I questioned
the piece. Timing the various songs
to all who made the effort to share
played the Indian woman, was a
whether my movements would be
and soundscapes with the flow of
in this beginning with me.
down slowly and spending significant amounts of time coaching her
to access and express anger.
External Introspection acts as the
14 NEW YORK UNIVERSITY
| O N S TA G E |
Shalom Sahbity (Peace My Friend)
By Catherine Hanna and
Simnia Singer-Sayada
Shalom Sahbity is an arts education partnership between Egyptian
and Israeli American Educational
Theater Master’s Students, Simnia
Singer-Sayada and Catherine
Hanna.
Shalom Sahbity began in
October 2006, after listening to
each other voice our opinions in
our research methods course,
taught by Dr. Christina Marín. When
we spoke after class, we found we
were both committed to addressing
the ongoing political conflict
between Arabs and Jews, and looking for a way to bridge this conflict
with educational theater. We immediately built a warm and open communication. It did not take us long
to figure out that collaboration
between us would not only be
extremely valuable, but it would
also be necessary.
Dr. Christina Marín encouraged
us to collaborate on class projects.
Shalom Sahbity: Catherine Hanna and Simnia Singer-Sayada
We then continued to build on our
ideas and submitted a proposal for
a grant from NYU’s Center for
was to stimulate a reconstructive
believe that this kind of dialogue is
Multicultural Educational Programs.
dialogue for our audiences, about
crucial and that it can be enhanced
We created a performance for the
the Arab-Israeli conflict. We per-
through the use of the arts. We are
2007 “Ism Project.” From
formed the piece for the Hunter
currently seeking more opportuni-
December 2006 to April 2007, we
College Walls, for Dr. Miriam
ties to fuse our backgrounds and
spent ten to twenty hours a week
Berger’s NYU Dance Therapy class,
interests in sociology, educational
conversing, writing, sharing stories,
at Borders, at the “Ism” Gala, and
theater (specifically Theater of The
re-writing, exchanging resources,
for a New York City Public Middle
Oppressed), human rights, third
improvising movement, and playing
School.
world development, comparative
conflict analysis, dance, and movement; to expand our piece and
This partnership has been healing for us,
share it with other audiences. We
are seeking ways to move beyond
as individuals, for our families, and for our
own small communities.
performance to creative curriculum
development and programming
that could reach New York City
schools, communities, and beyond.
games influenced by Chris Vine’s
Even though we are reaching
We are inspired, challenged and
the end of our EDTC Masters pro-
committed to our work together
We were working towards creating
gram, we are continuing the chal-
and curious to see what develops
a multifaceted educational per-
lenging conversations, the
in the future.
formance piece using drama,
exchange, and the playing. This
dance/movement, and media to tell
partnership has been healing for us,
Theater of the Oppressed course.
our personal stories and experi-
as individuals, for our families, and
ences of the Middle East. Our hope
for our own small communities. We
Salam, Shalom.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 15
Study Abroad: Rediscovering the Language of Aesthetics in Brazil
was entirely in Portuguese, but the
By Sasha Taublieb
set, props, costumes, and movement were so clear, that language
This past August, a small group of
was not a barrier. Members from
Masters and PhD students in the
the NYU Educational Theatre com-
Educational Theatre Program at
munity eagerly jumped into the act,
NYU had the once-in-a-lifetime
using the language of aesthetics to
opportunity to study with the
convey possible solutions.
renowned director, Augusto Boal at
At the culmination of the workshop, we presented three Forum
Oppressed (CTO) in Rio De Janeiro,
Theatre pieces for the local Rio
Brazil.
community. Once again, the lan-
PHOTOS BY ALEX SARIAN
the Center for Theatre of the
I was tempted to relay my experience with Augusto Boal and the
CTO this past August through a
detached, journal-worthy-sounding
essay, chock full of buzz words, and
excessive quotes. As I revisited
guage of aesthetics proved an
effective way to overcome the verbal language barrier. Non-English
speakers intervened as spectactors, communicating with their
Aminisha Ferdinand, Edmund Chow, James E. Webb, and Emily Ditkovski during a forum piece
in Rio, Brazil.
photos, journal entries, and recon-
bodies, props, and sometimes their
native tongues. In one piece enti-
sidered the trip’s impact on both
yelled “Stop!”, and entered the role
tled The Power of Love, a young
my professional and personal life, I
of Protagonist in countless Forum
woman struggled to find a way to
realized that the work with Boal is
Theatre sessions that took place in
make her family accept her as a
so profoundly unique, that academ-
NYU classrooms. Yet, none of this
lesbian. The actors playing oppres-
ic jargon can never do it justice.
could have prepared me for my
sors used large sticks to assert
Words cannot capture the melodi-
experiences in Brazil.
their authority, and confine the pro-
ous sounds of Portuguese, the lin-
The moment one enters Boal’s
tagonist to a religious regime char-
gering taste of the first sip of a
laboratory of theatre, one feels the
acterized by bigotry. This simple
Caipirinha, or the overwhelming
sensation of visiting an alternate
prop spoke far more than any
satisfaction one feels after success-
universe. For me, passing through
word, as a non-English spect-actor
ful collaboration.
the yellow, satin-covered, diamond-
rearranged the sticks in a barrier
shaped entry way into the rehearsal
formation, indicating how he felt
overloaded with theory, and the
space at CTO for the first time was
his family had trapped him with
kind of nerves a teenager feels
akin to Dorothy awaking in Oz. It
before meeting his/her favorite
was as if the New York City routine
rock star. I had read all of Boal’s
had been magically removed. I sud-
created at CTO were built on non-
atre, the actors and the audience
translated books, and was particu-
denly knew what Joe Salvatore
verbal forms of communication,
had a dialogue about the universal
larly well acquainted with Games
meant when he expressed that a
growing out of abstract sculptures,
desire to be accepted and loved.
for Actors and Non-Actors. I had
pedagogue’s responsibility is to
and silent, moving tableaux. Only in
create the proper circumstances for
the last stage did we add words.
shop in Brazil, I have relived
learning. At CTO, both my brain
Our words grew out of the move-
moments such as these again and
and body felt safe being open and
ment, rather than vice versa. This
again. Prior to the trip, I struggled
vulnerable, two qualities necessary
style of creating theatre runs con-
to wrap my head around, and at
for learning.
trary to most traditional methods in
times even snickered at, Boal’s
I arrived in Rio sleep-deprived,
Augusto Boal
I wondered how I felt safe in a
country where so many things,
including the language, felt foreign.
É Melhor Prevenir que Remédio Dar forum
piece.
their intolerant ways. The moment
transcended words. Through the-
In the months since the work-
which an actor discovers his/her
statement, “Loving is Art and Art is
movement through textual analysis.
Love.” It all seemed too simple and
The emphasis on movement
cliché. Now, however, I understand
Perhaps, it was because through
paid off as we viewed, and entered
that our capacity to love is what
Boal and Brazil, I discovered that
into as spect-actors, various Forum
enables our creativity, and allows
another form of communication,
pieces performed in the Rio area.
us to be affected by art. Through
the language of aesthetics, is much
At Jurujuba Psychiatric Hospital,
the language of aesthetics we
more powerful than the written and
the group, Pirei na Cenna per-
“speak” love. Love of art, love of
spoken word. Theatre is, according
formed a piece entitled, É Melhor
each other, and love of ourselves. In
to Boal, the “most natural form of
Prevenir que Remédio Dar (It is
Brazil, I rediscovered the language
learning, and the most primal.” I
Better to Prevent than Give
of aesthetics, and in turn, rediscov-
felt safe because I was using the
Medicine), in which a young woman
ered love.
language of my childhood.
must convince her boyfriend to use
The Forum Theatre pieces we
contraceptives. The performance
UPCOMING EVENTS
STORYTELLING
THEATRIX! STUDENT FESTIVAL
Regina Ress, Producer
OF ONE-ACT PLAYS
Provincetown Theatre,
Jennifer Miranda Holmes, Curator,
133 MacDougal Street,
[email protected]
Adults - $5.00/Children &
Black Box Theatre, 82 Washington
NYU folks - free
Square East, Free
If You Are Falling in Love, Dive!:
April 4 – 6, 2008
Love Stories by Regina Ress, Friday,
February 1 at 8 pm
Songspinner: A Musical Tapestry of
TWELFTH NIGHT
World Tales by Heather Forest,
Shakespeare Youth Ensemble
Sunday, March 9 at 3 pm
Joe Salvatore, Director
Provincetown Playhouse, 133
Cuban Tales From Here and There
MacDougal Street, Free
by Carmen Deedy,
Sunday, April 6 at 3 pm
April 11 at 7:30 pm,
April 12 at 2 pm and 7:30 pm
KINDERTRANSPORT
By Diane Samuels
David Montgomery, Director
FORUM ON SHAKESPEARE:
PAGE, STAGE, ENGAGE!
Provincetown Playhouse,
Joe Salvatore, Chair
133 MacDougal Street,
Kimmel Center for University Life,
$15 General, $5 with valid NYU ID
60 Washington Squre South,
8 pm – Feb. 22, 23, 28, 29 and
Students $50; Early Bird/NYU
March 1;
Alumni/Presenters $175
Conference Participants $250;
PHOTO BY ALEX SARIAN
3 pm – Feb. 24 and March 2
April 24 – 27
For more information and
ticket reservations, please call
212 998 5281.
From the September 15 Theatrix Twenty-Four Hour Play Festival: Meghan Riley caught
harassing Laren Hanna in Fraternizing With The Enemy
Revue
WINTER 2007
Steinhardt School of Culture, Education,
and Human Development
Program in Educational Theatre
Joseph and Violet Pless Hall
82 Washington Square East
New York, NY 10003