Revue
News from the Program in Educational Theatre
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
NUMBER THIRTEEN • SPRING 2010
Study Abroad: Puerto Rico 2010
FROM THE DIRECTOR
Sonia Flew, the program’s main-
students who attended the mati-
stage spring production, was cer-
nees, demonstrated the important
for the weather factor; it’s hard to
By Sara Simons (Ph.D. Student)
turn down the opportunity to wear
sandals for two weeks in the middle
tainly well attended at our “swing”
role that Ed Theatre continues to
space, the Players Theatre. The
play in presenting topical material
“Theatre Practices” is a vague title
play written by Melinda Lopez and
that speaks powerfully to an urban
for a class, and despite the colorful
while the warm air certainly made
directed to stunning effect by full-
audience. My sincere thanks to all
and detailed course book, I headed
learning more pleasant, it was far
of a dreary New York winter. But
time faculty member
those who contributed
out for my Intersession class in
from the most important part of
Dr. Nan Smithner, is set
so strongly to the
Puerto Rico unsure exactly what it
this trip. Instead, it was the back-
between post-revolu-
success of Sonia Flew.
would entail. I was delighted to find
drop for a learning experience that
a class that blended theatre with
seemed less like a traditional
tionary Cuba and
This production
post-9/11 America, and
was followed by
other art forms, engaging us in a
graduate school class and more
examines the impact of
Shakespeare to Go
way that was both compelling and
like an exploration of beauty.
world history on the
(STG), our energetic
aesthetically challenging.
lives of ordinary people.
traveling troupe of
It is a timely text
actors, who landed in
focused on Sonia, a
Cuban-American woman
Dr. Philip Taylor,
Program Director
smuggled as a child out
I would be remiss if I did not
For me, the tour of beauty
began the first day, when we went
admit that I picked this class partly
continued on page 3
the Skirball Theatre to
share their own adaptation of A Midsummer
Ed Theatre Allows Me to Be Myself
of Cuba and into the United States
Night’s Dream. It was heartening to
as a part of Operation Pedro Pan.
see so many members of our com-
Sonia’s journey is richly resonant
munity, faculty, students, alumni
with the experience of so many
and administration supporting
others who are torn between
STG, a student initiative begun in
When I tell people I am studying
cultural and familial identity, and
2003. Speaking of student direct-
Educational Theatre, they usually
those who are caught between
ed efforts, the Theatrix! Company
give the same response: “Oh, wow!
incredibly exciting. My classmates
conflicting expectations and
dazzled us again with their 10-
Cool!” It is cool. In my second
and I had all come from years of
wants. The audience responses,
minute play reading festival, as did
semester as an undergrad in the
education in which we had few
continued on page 2
program, I have learned that my
especially those of the school
INSIDE
major is something to be proud of.
By Robert Stevenson (ETHR, ‘13)
It’s unexpected amongst other
majors — setting me, and all of us,
apart.
Coming to NYU this fall was
continued on page 11
2 Spring 2010 Swortzell Scholars 3 Spotlight: Dr. Rosa Luisa Márquez 6 Woyzeck on Woyzeck 8 Observations on Sonia Flew Rehearsals
2 NEW YORK UNIVERSITY
P R O F I L E S
FROM THE DIRECTOR
Spring 2010 Swortzell Scholars
The Program is pleased to introduce our two Swortzell Scholars for the
Regina Ress with her delightful
Valentine’s Day storytelling
event.
supporting this project and for
spring term, Carolyn Burke and Abe Velazquez. The Lowell and Nancy
promoting its ongoing impor-
Swortzell Scholarship was established in 2002 to offer financial support for
tance in the arts community.
graduate students. Recipients have included Hector Estrada, Teresa Fisher,
We were saddened to hear of
the loss of Dr. Vera Mowry
Dori Robinson, Daphnie Sicre, Jonathan Shmidt and Jim DeVivo.
Carolyn Burke was honored to receive the
Roberts who passed away in
Lowell and Nancy Swortzell Scholarship. Since
charged with so many highlights
early spring. Dr. Roberts, Emerita
childhood she has been involved in the performing
that it’s difficult to single out any
at Hunter College and founder of
arts, and has done almost everything from church
one particular event. Perhaps
the theatre department there,
plays and piano recitals to hanging lights for a
most memorable for me was the
was a great friend of NYU, and
community theater. At the age of fourteen, she
Research Course which interna-
especially of our program’s
auditioned and was accepted in the Fiorello H.
tionally renowned scholar,
founders Dr. Lowell and Nancy
LaGuardia High School of Music and Art and the
Professor Johnny Saldaña, led
Swortzell. Vera stepped in to
Performing Arts where she studied vocal music for
with 28 of our graduate stu-
teach theatre history at NYU in
four years. After graduating from the FAME school,
dents. NYU prides itself on its
the 1980s, and she was an
Carolyn found her way to Syracuse University
The semester has been
PHOTO COURTESY OF CAROLYN BURKE
continued from page 1
Carolyn Burke
ability to bring to campus many
important presence at the first
where she then received a BFA in Acting. She has been a part of the
of the most influential figures in
International Drama in Education
Educational Theatre community at NYU since 2008 and has most recently
the field. In April, the NYU
Research Institute, held at
been seen as Margaret in the mainstage production of Woyzeck and The
Forum on Citizenship and
Griffith University, Australia, 15
Class Project (fall 2008), and has also been an active participant in a
Applied Theatre was pleased to
years ago. I was privileged to
number of Theatrix! Play Festivals. Carolyn recently returned from an
welcome innovators, artists and
witness first hand Vera’s impact
amazing Study Abroad experience in Puerto Rico and plans to graduate in
educators from across the world.
on educational theatre. Tributes
May, 2010.
And this summer Professor
highlighted Vera’s sharp
Helen Nicholson, prolific writer
intellectual curiosity, her
York University and is currently working
from Royal Holloway College will
scholarship in theatre history,
toward his M.A. in Educational Theatre in
join our conversation series in
her great generosity, and her
Colleges and Communities at NYU. From an
London during study abroad,
pioneering efforts to support the
early age, this South Bronx native has been
while at Washington Square, we
next generation, especially those
recognized in New York City as a fierce
are thrilled to be hosting a semi-
of young women beginning in
battle MC, a conscious and profound poetry
nar on young people’s theatre to
the Academy. Vera Mowry
writer, and a creative visual artist.
overlap with the June Play
Roberts was one of a kind, and
Development Series. My thanks
she will be greatly missed.
to Teresa Fisher, retiring doctoral
fellow, for all of her efforts in
As a member of Lyrical Circle, Abe co-wrote
PHOTO COURTESY OF
ABRAHAM VELAZQUEZ
Abe Velazquez earned his B.Sc. from New
Abraham Velazquez
and acted in the play Off the Subject. The book,
Off the Subject, was written soon after with foreword by Sekou Sundiata
—Philip Taylor
and afterword by Nikki Giovanni. The published work creates dialogue for
the relationships between young men and women, questions social norms,
and explores race, class, gender, and politics through poetry.
Abe tutors and mentors youth as a teaching artist at both public and
private schools all across New York City & New Jersey.
His poetry and lifestyle have been broadcast on Urban Latino Magazine
TV for positive Latino role models taking on the role of educators. His
Revue
Number Thirteen, Spring 2010
talents have been showcased at The SoHo House, CBGB’s, Bowery Poetry
Club, The Door, Food for Thought Cafe, La Pregunta Arts Cafe, El Puente,
The Nuyorican Poet’s Cafe, The Brotherhood/SisterSol, NYU, Columbia
University, Fordham University, Wesleyan University, St. John’s University,
SUNY Purchase, Swarthmore College, St. Peter’s College, CUNY Law
Editor-in-Chief: Jonathan Jones
Copy Editors: Teresa Fisher and Evelynn Harmer
Photo Editor: Jonathan Jones
School, and Hunter College among others.
What moves and inspires Abe the most is his desire to see a more
compassionate and just society. Abe’s future goals include further
developing his Taoist studies, developing his global outreach and aide
Program in Educational Theatre
movement, the “Heal the World” tour, and the construction of an art center
Department of Music and Performing Arts Professions
in South America catering to youth arts development.
Steinhardt School of Culture, Education, and Human Development
Joseph and Violet Pless Hall,
82 Washington Square East, New York, NY 10003
If you would like to donate to the Lowell and Nancy Swortzell
Scholarship Fund, please visit:
http://steinhardt.nyu.edu/music/edtheatre/programs/scholarship
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 3
Study Abroad: Puerto Rico 2010
continued from page 1
to El Grupo de Teatro Yerbabruja.
All over the studio hung brightly
colored, fabulously constructed
masks built by Deborah Hunt, one
of the many guest artists with
whom we had the pleasure of working. The presence of such vivid
masks set the tone for the rest of
the trip, exploring different facets
of beauty across disciplines.
Another highlight of the trip was
our “Transforming Spaces” workshop with two more of our guest
faculty, Rosa Luisa Márquez, from
the Theatre department at the
Study Abroad students and staff are joined by Antonio Martorell (far left) and Julian Boal (second from right) at The Center for Puerto Rico:
Sila M. Calderón Foundation
University of Puerto Rico, and
Antonio Martorell, a renowned
experimenting with different
would have thought of and shaped
Puerto Rican artist who works
throughout the trip. One of my
rehearsal techniques. Aesthetically,
the pieces in a new light, opening
across different media to create
favorite mornings was a Physical
my favorite part was working to
up new perspectives on dealing
stunning pieces that reflect social
Theatre workshop led by NYU’s
develop the abstract introduction
with oppression.
and cultural concerns. Rosa Luisa
own Javier Cardona, who showed
to the piece. I had not created that
and Antonio are a dynamic duo,
us how beauty can be found within
kind of work before, and I found it
and rewarding experience and a
and early in the trip, they led us in a
the body, in simple movements that
powerful. Once we had our
vivid tour of beauty through the
workshop that transformed the
flowed together (and made our
introduction, we worked to develop
disciplines.
space of a UPR art museum into
legs hurt the next day!).
the rest of our piece, which was not
The tour of beauty continued
our own magical version of Project
Overall, the trip was an intense
easy. One of the best moments of
A blog chronicling the Study
Runway, creating elaborate cos-
doing Theatre of the Oppressed
the trip for me was working with
Abroad trip in San Juan can be
tumes from rolls of white paper,
work. We worked in small groups to
my group on the grass outside our
found at: http://theatrepractices.
and using the costumes as the cen-
create Forum Theatre pieces on
hotel as our ideas finally coalesced
blogspot.com/
terpiece for creating brief visual
topics that mattered to us, and we
and we put together a strong and
coherent piece.
A big focus of this course was
stories. The workshop transformed
presented the work at an Open
not only the space of the museum,
Forum held in the theatre at UPR.
but also the way many of us viewed
Our Theatre of the Oppressed work
the pieces, explored the roles of the
Educational Theatre can be found
the construction of a story, starting
was facilitated by Julian Boal. While
protagonist and the antagonist, and
at: http://steinhardt.nyu.edu/
not with a plot outline but with an
Julian made it clear up front that he
got tips on jokering from Julian
music/edtheatre/programs/
image, and building a story from
is not his father, he has a fun and
before our final performance.
summer/abroad
there. This workshop was a prime
engaging style all his own. I greatly
Having an audience there was
example of the way that beauty can
enjoyed working to develop our
wonderful — the audience members
be found in unexpected places.
Forum Theatre pieces and
jumped in with interventions I never
Further information on Study
In our final days, we rehearsed
Abroad Programs in the Program in
FACULTY SPOTLIGHT
Professor of Theater and
She was a constant appren-
Martorell. Her projects have
Drama at the University of
tice to Peter Schumann of
traveled extensively through
Puerto Rico where she
the Bread and Puppet
North and South America
teaches Introduction to
Theater, Augusto Boal of
and the Caribbean. Dr.
Born in Puerto Rico in 1947,
Theatre, Theater Games,
the Theater of the
Márquez is the winner of the
Rosa Luisa Márquez has a
Socio-drama, Theatre
Oppressed, of Grupo
Puerto Rican Drama Critics
Bachelor’s Degree from the
History, Latin American and
Yuyachkani from Perú, and
Circle Award for Theatrical
University of Puerto Rico,
Post-Brechtian Theatre, and
Grupo Malayerba from
Creativity, 1990 and Best
an M.A. from New York
stages plays.
Ecuador. She has developed
Production Award for her
By Jonathan Jones (Ph.D.
Student)
University, and Ph.D. from
Dr. Márquez trained in
her own theatrical language
staging of Jardín de Pulpos,
1996, for the University of
Michigan State University.
street theater and founded
in collaboration with Puerto
Dr. Márquez is a Full
Anamú Theater Collective.
Rican graphic artist Antonio
continued on page 4
PHOTO COURTESY OF JONATHAN JONES
Dr. Rosa Luisa Márquez — An Inspiration
Dr. Rosa Luisa Márquez
4 NEW YORK UNIVERSITY
Dr. Rosa Luisa Márquez — An Inspiration
continued from page 3
Puerto Rico’s Traveling Theatre
She remained in constant contact
Company and for her Caribbean
with Boal throughout the rest of his
version of Waiting for Godot, 1997.
life and participated in projects with
Happenings
Forum on Citizenship and Applied
Theatre: Planning and Preparation
him both in the Americas and
An accomplished actress and
director, dramatist, radio and TV
Europe. Kyla McHale, student on
producer and announcer, Dr.
the study abroad program, noted
Márquez published her first book
Dr. Márquez’s reflection that, “What
Plans for the 2010 Forum on Citizenship and Applied Theatre started
on her own methodology: Brincos y
is generous of Boal is that he gives
well before the 2009 Forum on Theatre Pedagogy had even taken
Saltos: el juego como disciplina
us the alphabet but we make the
place. While painstakingly considered, choosing a new focus is rela-
teatral. (Leaps and Bounds: Games as
words” — a statement McHale
tively easy compared to all the planning and preparation steps which
Theatrical Discipline). A second edi-
would apply to all of the work we
precede each year’s forum.
tion was published in 1996. In 2002,
do as she sees it as a perfect analo-
she published Historias para Ser
gy for graduate school (we are
Montgomery, Visiting Professor in the Program in Educational Theatre.
Contadas: el montaje, a model book
given the alphabet and then write
He was assisted by Amy Cordileone, Ph.D. candidate and Super
of her staging of Osvaldo Dragun’s
the words, sentences and curricu-
Adjunct; Jonathan Jones, Ph.D. Fellow; Daphnie Sicre, Ph.D. candidate;
Latin American classic and is
lum ourselves).
presently working on a documen-
By Teresa Fisher (Ph.D. Candidate)
The 2010 Forum Planning Committee was led by Dr. David
Sara Simons, Ph.D. Fellow; Teresa Fisher, Ph.D. Fellow; Evelynn Harmer
In 2004, Márquez co-planned
and Christopher Goslin, MA students. The committee spent the past
tary on theatre games as an educa-
the Puerto Rican component of the
year, especially the past six months busily making plans for the 2010
tional, social change, and
NYU intersession course in commu-
Forum.
performance tool.
nity theatre. During the summer of
What goes into planning a forum? First, a focus must be chosen
2006, she connected NYU with
and developed into a clear proposal. This is done by examining current
Music and Theatre Department
Boal in Río and helped coordinate a
theory and practice in the field — what questions are being asked,
from 1992-1993, Dr. Márquez estab-
workshop with students from NYU
what are people doing in the field, and what do practitioners,
lished bridges between diverse
as well as students and alumni from
educators, and researchers want to know more about — as well as
groups and theatres in the U.S. and
the University of Puerto Rico.
As Artist-in-Residence at MIT’s
Dr. Márquez’s participation in the
Latin America. Since 1989, she has
PHOTO COURTESY OF TERESA FISHER
been a member of the Board of
Post-Performance Talkback with (left to
right) Rosa Luisa Márquez, Kairiana Núñez,
and Deborah Hunt
what is happening in the global community. With last year’s passing of
Augusto Boal, a leader in applied theatre and a truly remarkable global
study abroad program this January
citizen, all our thoughts turned to how we use theatre, especially in
was transformative for many of the
communities, prisons, hospitals, schools, and other sites, to transform
students. Sasha Lakind described
society. As explicated in its description, “The goal of this forum is to
Rosa Luisa as, “An inspiration —
facilitate a dialogue on citizenship and applied theatre contexts
each day bringing something new
through exploring the field of arts-based community engagement. The
for us to discover, presenting ideas
forum will also investigate the perceived boundaries and barriers for
to blow us all away with so many
artist/educators committed to understanding the roles and
treasures to hold onto.” Visiting stu-
responsibilities of citizens in both local and global communities.”
dent, Thom Hecht, remarked about
Once the focus of the forum is chosen and goals set, attention
Dr. Márquez’s pedagogical
shifts to the practical matters of putting together a call for proposals,
approach, describing it as, “Hands-
finding keynote and panel speakers, securing space and materials,
on, stimulating and shaping the
networking with potential collaborators, reviewing proposals,
idea of applied educational theatre
registering participants, coordinating the budget, ordering food,
throughout the workshop. Márquez
finding volunteers, creating welcome packets, and a hundred other
explained that it is vital that the
tasks along the way.
Directors of the International
facilitator demonstrates and partici-
School of Theatre of Latin America
pates in every trust exercise to gain
the field of applied theatre join us, including Michael Rohd (Sojourn
and the Caribbean headed by
the trust of the group.”
Theatre, Portland, Oregon), author of Theatre for Community, Conflict,
Argentinean playwright Osvaldo
Dr. Márquez is presently on
This year we were fortunate to have many distinguished leaders in
and Dialogue, Margarita Espada, a dedicated artist, educator, and
sabbatical after chairing the
cultural organizer, and Julian Boal, founding member of GTO, Paris.
Interdisciplinary Studies Program at
Additionally, preeminent legal scholar, Anthony Thompson, helped us
Boal in 1979 and incorporated his
the University of Puerto Rico for
interrogate the question of what constitutes citizenship in society. In
theories and practice into her
five years. Ph.D. candidate Teresa
addition to those honored guests, the committee received a great
courses thereafter. She spent 1982-
Fisher praised Dr. Márquez’s work
many exciting proposals for workshops, performances, narratives, and
1983 as his apprentice in Paris and
with our program, labeling her as,
paper presentations including a significant number of international
acted in one of his plays. In 1986,
“An amazing facilitator, incredibly
proposals.
she accompanied Boal back from
generous, and compassionate,” and
exile to Brazil and collaborated with
we are lucky to have her as part of
include a keynote address by Ross Prior, editor of Journal of Applied
him as he developed theatre proj-
our Educational Theatre family.
Arts and Health. For further information, please contact Sara Simons at
Dragún.
Rosa Luisa first met Augusto
ects for the public school system.
Next year’s forum will examine Drama and Health Education and
[email protected].
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 5
EDUCATIONAL THEATRE PROFILES
Methods and Materials of Research with Visiting Professor Johnny Saldaña
Journal, Stage of the Art, Teaching
ASU College of the Arts Research
Saldaña in spring 2010. Saldaña is
Theatre, Research in Drama
Award in 2005. In 2000, 2008, and
a Professor of Theatre in the
Education, Research Studies in Music
2009, he was recognized as a final-
Herberger Institute for Design and
Education, Multicultural Perspectives,
ist by the ASU Parents Association
the Arts’ School of Theatre and
Journal of Curriculum and Pedagogy,
for Professor of the Year.
Film at Arizona State University
and Qualitative Inquiry. He has also
PHOTO COURTESY OF JOHNNY SALDAÑA
NYU was thrilled to host Johnny
(ASU) where he has taught since
1981. He has been involved in the
field of theatre education as a
teacher educator, drama specialist,
director, and researcher.
Mr. Saldaña is the author of
Drama of Color: Improvisation with
Multiethnic Folklore (Heinemann,
1995), a teacher’s resource text and
Mr. Saldaña received his BFA in
published chapters on research
Drama and English Education in
methods for such titles as Arts-
1976, and MFA in Drama in 1979
Based Research in Education,
from the University of Texas at
Handbook of the Arts in Qualitative
Austin. Saldaña has taught at UT-
Research, Handbook of Longitudinal
Austin and Washington State
Research, and entries for The Sage
University in Pullman. He was born
Encyclopedia of Qualitative Research
in Austin, Texas, and currently
Methods.
resides in Phoenix.
Saldaña’s research methods in
At NYU, as well as teaching the
longitudinal inquiry, ethnodrama,
research methods course, Saldaña
Johnny Saldaña, Arizona State University
recipient of the 1996 Distinguished
and coding have been applied and
gave a fascinating lecture on his
Alliance for Theatre & Education
collection of ethnographic-based
cited by researchers internationally.
latest research, “Lifelong Impact:
(AATE); Longitudinal Qualitative
plays; and The Coding Manual for
He is an eight-time recipient of the
Adult Perceptions of Their High
Research: Analyzing Change Through
Qualitative Researchers (Sage
President’s Citation of Merit from
School Speech and/or Theatre
Time (AltaMira Press, 2003), a
Publications, 2009), a handbook on
AATE, the 1989 Creative Drama
Participation.” The purpose of the
research methods book and recipi-
qualitative data analysis. His forth-
Award, the 1996 and 2001 Research
“Lifelong Impact” study is to
ent of the 2004 Outstanding Book
coming textbook, Understanding
Awards from AATE, the Burlington
determine in what ways participa-
Award from the National
Qualitative Research: The
Resources Foundation Faculty
tion in high school theatre/speech
Communication Association’s
Fundamentals, will be published by
Achievement Award in 1991, the
classes and/or related extra-
Ethnography Division; Ethnodrama:
Oxford University Press in 2011.
ASU College of the Arts
curricular activities may have
An Anthology of Reality Theatre
Saldaña has published articles in
Distinguished Teacher of the Year
positively influenced and affected
(AltaMira Press, 2005), an edited
such journals as Youth Theatre
Award in 1995 and 2008, and the
adults after graduation.
Book Award from the American
CURRENT DOCTORAL RESEARCH
final revisions and she aims to file in
By Daphne Sicre (Ph.D. Candidate)
April 2010. The study analyzes and
teenage girls who participated in
stages of drafting a dissertation
the community-based performing
proposal and is currently enrolled in
arts organization, viBe Theater
the dissertation proposal seminar
Experience, over two and half years.
PHOTO COURTESY OF JIM DEVIVO
explores the experiences of
Jim DeVivo is in the preliminary
taught by Professor Elizabeth
Norman. He plans to study the
Teresa Fisher’s dissertation will
experiences of student writers who
consider how obesity is
participate in young playwrights
experienced by emerging adult
festivals conducted by professional
women. She will utilize theatre for
theatre companies in the United
social change, specifically a
States.
combination of Augusto Boal’s
Daphnie Sicre is currently
American and Latino representa-
Theatre of the Oppressed and
researching the discourse of race in
tions and the performance of
Dana Edell is in her fifth (and final!)
Rainbow of Desire forms, to
performance and the drama
AfroLatinidad manifest in the play
year of the doctoral program in
explore, interrogate, and
curriculum, studying theories and
Platanos & Collard Greens as
Educational Theatre. Her
understand obesity. This arts-based
practices of applied theatre for
experienced and negotiated by the
dissertation, titled “Say It How It Is:
qualitative study will aim to
social change, directing bilingual
director, playwright, actors and
A Study of Urban Teenage Girls
investigate the internal and external
productions and focusing on a
audience members. This semester,
who Challenge and Perpetuate
oppressions that exist within
global perspective for Theatre for
she plans on handing in her
Cultural Narratives through Writing
obesity.
Young Audiences. The focal points
dissertation proposal so that she
of her dissertation are the African-
can finally start her research!
and Performing Theater,” is in its
Jim DeVivo working with students
6 NEW YORK UNIVERSITY
| O N S TA G E |
Woyzeck on Woyzeck
By Robert Keith (ETHR, ‘12)
Performing Woyzeck for the
Tom Waits, and Nick Cave. The lat-
educational setting. Without the
ter joined in collaboration with
mentorship or knowledge of the
inmates proved to be an entirely
actor/direction Gisli Örn
instructors, the classmates began
different experience from our two-
In the early part of 1836, a termi-
Gardarsson to produce a brutally
working on their own adaptation of
week run in the Black Box. Firstly,
nally ill Georg Büchner spent his
surreal adaptation. The work imme-
the script. They began rehearsing in
we were stripped of all of the safe-
last months working on what would
diately gained popularity and was
their spare time, preparing a
ty nets that modern theatre pro-
become his magnum opus. It was
produced at the Brooklyn Academy
sharing of their own which would
vides. Without the use of costumes,
based on the tragic life of Johann
of Music, Malthouse Theatre
follow ours.
lights, and the massive amount of
Christian Woyzeck, a former soldier
(Melbourne, Australia), and most
who was deemed psychologically
recently by our own New York
expectations of the performance
Büchner’s words and the story we
incompetent shortly before his
University. Woyzeck seemed to be
were somewhat unclear. The
were telling. In this foreign territory
public execution. As both a doctor
finding his voice again, but who
mechanized metal gates and stern
we stared into the eyes of men who
and a dramatist, it seemed that
exactly was he speaking to over a
grey courtyard had all the
most likely understood Woyzeck
Büchner was inspired by the moral
hundred years after his execution?
trappings of a stereotypical prison,
better than we ever could. Despite
but as soon as we arrived in the
all my empathy for the character,
questions raised by Woyzeck’s
Shortly after the fall run of the
Upon entering the prison, my
water, we were to rely entirely upon
fragile psychology. He chose to
Educational Theatre Program’s
classroom it became obvious that
Woyzeck’s extreme violence and
abandon the grandiose Aristotelian
Woyzeck, several members of the
something different was happening
persecution were foreign to me;
hero and instead focused on a
cast (myself included) met with
here. The inmates were already
they merely existed in my life as
workingman’s tragedy with its
director Dr. Philip Taylor and pre-
hard at work; they were in the
abstractions — hints of feelings that
roots firmly in historical fact.
pared a condensed form of the
process of frantically arranging a
I attempted to recreate onstage.
Through the use of medical docu-
show to be performed for a collec-
stage area for our arrival. Two of
Here there was no room for
ments and court transcripts he pro-
tion of inmates at Woodbourne
the men were standing on chairs
abstractions; the audience alone
duced three fragmented drafts
Correctional Facility in upstate New
hanging a proscenium of their own
had brought the work to a new
before his untimely death. The text
York. This presentation was the
design. It consisted of several
level of reality, elevating it far
was saved by his brother and even-
culmination of a month-long collab-
pieces of paper taped together and
beyond the realm of academia.
tually edited into a performable
oration between the Educational
read (in carefully designed word
format forty years later, and the
Theatre Program and Rehabilitation
art) RTA and NYU present
showing informally, so the inmates
rest seems to be history.
through the Arts (RTA).
Woyzeck. The environment was
were able to actively participate
Dr. Taylor structured the
with guided discussion at the end
of every scene. The men became so
genuinely eager to participate with
questions and observations, that by
PHOTOS COURTESY OF CHIANAN YEN
the end of the show they could
hardly contain themselves within
their seats. In Woyzeck’s final
monologue, he appeals to
audience’s sympathy and asks, “Do
you think I killed someone? Am I a
murderer?” Suddenly there came a
chorus of yes from the audience.
However, it was by no means a
disrespectful interjection. It was a
sincere reaction, a proclamation
Performing Woyzeck for the inmates proved to be an entirely different
experience from our two-week run in the Black Box. Firstly,
we were stripped of all of the safety nets that modern theatre provides.…
that there would be no denial here;
Woyzeck was guilty. This is not to
say the inmates were not
empathetic with Woyzeck; their
adaptation proved quite the
opposite.
It would remain just that, for
The inmates worked with two
among the most energetic and
About a dozen men took the
both Büchner and his Woyzeck
different adaptations of Woyzeck,
anxious classrooms I have ever
stage, none of whom had any prior
seemed to fade into antiquity. Yet
critically comparing them and
been in; they were just as eager to
performance experience, and
recently there has been a call to
applying the themes to their lives
share their work with us as we were
began a much different Woyzeck.
resurrect Woyzeck; in the last few
through a series of exercises and
to share with them. It was one of
They modestly worked through the
years the classic text has attracted
group improvisations. It was at this
those rare moments where student
story incorporating both tragedy
the attention of artists as disparate
point that something truly inspiring
and educator meet unexpectedly
and humor in a modern context.
as Carnegie Mellon’s Dan Rigazzi,
happened in this uncommon
on the same level.
The inmates proved themselves to
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 7
be very serious artists as they inter-
silence proved it was no longer
Woyzeck had spoken clearly to
or a dozen other intellectual
wove what seemed to be their own
about Woyzeck, or Büchner, or the-
them, and they had readily received
justifications — but it’s not really
struggles, vices, and backgrounds
atre: it was about understanding.
the message.
about that. It’s about leaving that
into the play. As we watched a des-
Understanding violence.
perate drug-addled Woyzeck stran-
Understanding each other.
me what Woyzeck had to do with
had given twenty inmates the
gle his lover in both rage and
Understanding a darker side of
educational theatre. I could talk
opportunity to further understand a
confusion, I felt privileged to view
humanity that builds up and festers
about the roots of socially
dark and potentially volatile part of
something so powerful. As Marie
if unattended. Any doubt in my
conscious theatre, its adherence to
themselves in a safe and healthy
grew still in that man’s arms, the
mind was immediately erased;
a documentary impulse in theatre,
manner.
People have frequently asked
prison knowing that your art form
Student Conversations: Bringing Woyzeck to the Schools
By Tyler Eccleston-Grimes
(ETHR, ‘12)
When dealing with mature and
PHOTOS COURTESY OF CHIANAN YEN
complex material it is essential to
start conversations and educate
those who will be witness to it,
especially when they are younger
students. As the opening of
Woyzeck drew near, the cast and
assistant director made their way
to the schools to help prepare the
students for the show they would
be seeing. Our goal was to
engage the students who would
The results were astounding. Each group brought
be coming to our two student
matinees in a conversation rich
powerful thought and meaning to their images
enough to bring them into the
and the room buzzed with understanding.
world of our play.
Our first visit brought us to
Gramercy Arts High School where
students were able to have fun,
As an educator and facilitator it
we joined an acting class led by a
talk about the show, get at
was amazing to see how much
brought a compelling argument
very enthusiastic teacher, Mr.
deeper meanings behind the text,
meaning and imagery can come
to why no one might have helped
Simeon Buresch. The students
and get to know the cast all at
from a text, and to see how
this poor woman and they raised
were bright and eager to
once. We can only guess from
different students reacted to it.
several questions about self-
participate as we began our
their stretched smiles that they
activity. Using a visually
enjoyed the activity.
stimulating monologue that is
A week later we went to
With the second class came a
new activity. Being that it was the
preservation and the family unit.
What resulted was some of the
“advanced” acting class, we
greatest audience engagement
repeated several times
Brooklyn School for Music &
thought they could handle a dif-
I’ve ever witnessed. The two
throughout the show, we read the
Theater where we taught not one,
ferent activity. As Woyzeck was
schools who came to the student
monologue out loud and asked
but two different classes, with the
based on current events during
matinees were engrossed in the
the students to stop us at every
assistance of Ms. Stacey
the lifetime of Georg Büchner, we
action on stage which was reflect-
image we came across. After
Cervellino. The first class we
read a newspaper article about
ed in the talk back where they
finding about thirty of them, we
taught found us with the same
the 1964 murder of Kitty
asked smart, complex, and origi-
separated the kids into groups
activity as at the Gramercy Arts
Genovese where her neighbors
nal questions about the play.
where they had to physicalize the
High School. Although it was the
turned their heads while she
Gone were the questions asking
different images, using
same process, we had drastically
screamed for help in the street
what the actor’s favorite color
combinations of sound and
different results. These students,
below. It became the students’ job
was, replaced by questions about
movement. The results were
using the same words, managed
to get into groups and become
the nature of the abstraction in
astounding. Each group brought
to create completely different
the neighbors and act out the
the text, only further proving the
powerful thought and meaning to
(though equally thought-
various scenarios that prevented
importance of education and
their images and the room
provoking) pictures from those of
these individuals from helping
conversation that good theatre
buzzed with understanding. The
their predecessors a week earlier.
their neighbor. Each group
should raise.
8 NEW YORK UNIVERSITY
| O N S TA G E |
Observations on the Rehearsal Process for Sonia Flew
niques that Smithner used to fix
By Lily Winograd (ETED)
PHOTOS COURTESY OF CHIANAN YEN
this potential issue was to have the
From an Educational Theatre perspective, one thing I have learned
is that theater is a community
building agent. Nan Smithner, the
director of the spring play, Sonia
Flew, used movement and characterization techniques to work their
natural magic towards community
actors create a back-story with
partners that they do not meet in
the play. After doing this activity,
the actors shared wonderful insight
into their characters and into the
relationships between the two
different casts. Without doing this
activity, the actors may not have
had the chance to explore the
building. There was no need for ice
connections between those that
breakers because the theatrical
actors got a chance to experiment
fers from most other plays in that
they do not meet within the
activities that Smithner facilitated
with their body, the space, and
the first and second acts have two
confines of the play.
already asked the actors to work
those around them — and these
completely different casts. The dif-
together as an ensemble.
activities helped foster an environ-
ferent characters only meet during
were used to lead the actors
Although time was one of her
Some other techniques that
ment from which a bonded ensem-
two short occasions in the play. A
towards building an ensemble
biggest concerns when beginning
ble emerged. When asked about
risk to directing a play that is
included physical and emotional
the rehearsal process, Smithner
the group as a whole, Nan
organized in such a way is that the
gesture, mirroring, and in depth
used the first week of rehearsals for
described how impressed she was
actors may only bond with the
conversations about some of the
ensemble building activities and
with the talent, enthusiasm, and
other actors in their respective act.
issues that the play brought up.
exploration of the show. Smithner
versatile of the cast. As Nan put it,
Smithner explained, “In this play,
The bonds made between those
employed the Viewpoints tech-
“I feel that everybody has some-
the merging of the two worlds is
involved with the show can also be
nique, which she learned from its
thing to teach each other,” and
really important to the telling of the
attributed to the passionate cast
originator, Mary Overly. Smithner
allowing the cast to openly reflect
play. You could just exist in sepa-
and crew involved with making
explained Viewpoints as, “A way of
on each activity and technique
rate worlds and never meet in
Sonia Flew a success. Thanks to
defining movement, a way of creat-
enabled this teaching to occur.
rehearsal. I told them that the show
Nan Smithner, the cast and crew
ing ensemble, a way of understand-
A significant hurdle that the
wouldn’t succeed unless we had an
of Sonia Flew came together to
ing special relationships between
director had to overcome involved
ensemble feel to it with all of the
work towards a common goal: a
actors.” With the use of Viewpoints,
the structure of the play as it dif-
disparate scenes.” One of the tech-
compelling performance.
Ed Theatre Students and Alumni Create First Foot Theatre Productions
By Guleraana Mir (EDTC, ‘09)
First Foot Theatre Productions was
a dream that took over six years to
ny?” These ramblings continued
individuals were soon found and a
resounding success, leaving stand-
until the end November when final-
seven-member board was created.
ing room only and boasting atten-
ly Chris filed with New York State
Made up of the following individu-
dance of a mixture of students,
and an LLC company was born.
als, it was time for First Foot to
friends, colleagues, professional
take its first steps and recognize
actors, the general theatre-going
Passionate about the concept of
formulate and less than six months
applied theatre; a sense of theatre
that as a collective it has some of
public and a healthy collaboration
to realize. It is remarkable what can
grown from a community, to bene-
the best artists and educators that
with the staff of City Lights Youth
be achieved when you have the
fit communities around us, Mir and
New York City has to offer:
Theatre.
deep-set love of theatre, support
Goslin made the executive decision
Guleraana Mir, Artistic Director
from fabulous friends and the edu-
to leave the LLC and file for non-
(EDTC Alum); Chris Goslin,
Foot gets closer to achieving the
cational foundation of an institution
profit status. First Foot is an organ-
Managing Director (EDTC Student);
monumental goals set by its team
like New York University.
ization that represents the ideals of
Liz Wexler, Program Director
and living the dream everyone in
Augusto Boal and his contempo-
(EDTC Alum); Kathi E. Emori,
this business holds for themselves.
alumnus of EDTC and Christopher
raries, upholding the notion that
Marketing Director (EDTC Alum);
Goslin, a current student in the
theatre is a tool to not only look at
Daphnie Sicre, Educational Director
this epic venture and offer your
same Educational Theatre Masters
the world and ourselves, but also to
(PhD Candidate); Erin R Kaplan,
support at: www.firstfoot.org
program, First Foot began its jour-
motivate change: Acting, Collabor-
Associate Artist (EDTC Alum); Karl
ney in the Ireland Study Abroad,
ating, Transforming. A mission
Williams, Board Member (EDTC
missions for short plays for its
summer 2009. Chris and Guleraana
statement was drafted, expressing
Alum).
Workshops and Whiskey series, to
met in Dublin and empowered by
the desire to create professional,
the creative atmosphere initiated a
socially aware theatre and suddenly
duced the first of its Workshops
website. If you are an actor or direc-
series of conversations along the
it all became very real.
and Whiskey play-development
tor and wish to be involved in any
series with many more planned.
of our productions, you can also
The event in January was a
find guidelines on the site.
Founded by Guleraana Mir, an
lines of “wouldn’t it be awesome if
It didn’t take much longer to
we started our own theatre compa-
start “living the dream.” Five other
Thus far First Foot has pro-
With every step taken, First
You can find out more about
First Foot is always seeking sub-
submit, follow the guidelines on the
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 9
Playwrights at Work: Theatrix! and the New Plays for Young Audiences Series
Jamie Mayer
By Jim DeVivo (Ph.D. Candidate)
Pleated by Mariel Kennedy;
directed by Kristin Stadelmann
Conventional thinking is that
writing is a solitary act. That may
Me Name-O Eduardo by Isabel
Ramos; directed by Karl Williams
be true of the initial drafting of the
piece, but once what is written
Untitled by Jack Slatery; directed by Stacy Horowitz
reaches an audience, the act of
On November 14, 2009, the
tival). Inspired by seeing her work
professional playwrights and are
on stage and by the feedback from
intended for child audiences.
the NJ festival creative team and
The plays in the upcoming series
audience, Samantha embarked
include:
upon a series of revisions to what
was originally a one-act play. By
Where in the World Is Frank
Sparrow? by Angela Betzein;
the end of August, Requiem had
directed by Emelie FitzGibbon;
grown from one-act to a three-act,
June 12-13
writing becomes a dialogue. This
young playwrights attended a day-
full-length script. Teaching artists
is especially true of playwriting,
long rehearsal for their play with a
from Playwrights Theatre and I
by José Cruz González; directed
which requires the eventual
director and actors from the
gave Samantha feedback through-
by Emily Petkewich Kohring;
collaboration of actors, directors,
Program in Educational Theatre.
out the fall as she continued to
June 19-20
designers, and audience to realize
This creative team worked with the
revise the play. It was impressive to
a playwright’s words on stage.
playwright, asking questions and
see Samantha’s progress with each
Averill; directed by Deirdre Kelly
This process was on display during
making suggestions about the play.
draft, especially as I remembered
Lavrakas; June 26-27
the Theatrix! presentation of new
This not only provided an opportu-
her work from a playwriting resi-
plays by young playwrights this
nity for the cast to further explore
dency that I taught at her elemen-
dramaturge for each production.
past November.
their characters, but also allowed
tary school. These developments
Discussions with the playwright
the playwrights to see and hear
were on display when an excerpt
and director follow each Sunday
arrived from young playwrights
new perspectives on their work.
from one of Samantha’s first plays
matinee. Please keep an eye out for
under the age of 18 from all over
The playwrights were then able to
was presented with an excerpt
the audition notice for NPYA and
the East coast. Five of these plays
make adjustments to the script
from Requiem at the Educating the
join us for these exciting produc-
were selected for performance.
prior to the afternoon reading, if
Creative Mind conference at Kean
tions in June. Please visit the fol-
Amy Cordileone, the producer of
necessary.
University on March 4, 2010.
In the early fall, 24 one-act plays
Theatrix!, explained that plays were
Mighty Miracle Saves the World
Grotesque Arabesque by Ric
Cecily O’Neill will be the
lowing website for further details:
Requiem, a full-length play by
The evening of one-act plays on
chosen based on “content/source
Samantha Berstler, a high school
November 14 was the first time that
edtheatre/programs/summer/
material, lucidity, genre, and
student from New Jersey, preceded
Theatrix! presented new work by
newplays.
potential for further development.”
the one-acts on the evening’s bill.
young playwrights under the age of
Five one-acts were selected:
http://steinhardt.nyu.edu/music/
Requiem was a winner in the 2009
18. New plays will again be the
NYU students may register for
New Jersey Young Playwrights
focus in the Program in Educational
E17.2152-001 Theatre Practices:
Festival, a program that I coordi-
Theatre this June when the New
Problems in Play Production for
nate for Playwrights Theatre of
Plays for Young Audiences Series
3 credits. For further information,
Gracey, Fallon Schlossman, and
New Jersey. (The Art of Interro-
(NPYA) returns to the stage. In this
please contact the instructor, Joe
Rebecca Van Voorhees; directed by
gation was also a winner in this fes-
series, the new works are by
Salvatore, at: [email protected]
Native Son: Aftermath by Natalie
Coley; directed by Carolyn Burke
The Art of Interrogation by Lydia
Shakespeare to Go, the touring
2003, brings 60-minute adaptations
company of New York University’s
into New York City public and private
Steinhardt Program in Educational
schools. The traveling troupe has 20
Theatre, partnered with the Skirball
undergraduate and graduate student
Center for the Performing Arts to
participants, all of whom perform
present A Midsummer Night’s Dream,
Shakespeare’s plays throughout New
by William Shakespeare, as a part of
York City. The troupe has toured The
the Skirball Center’s Big Red Chair
Taming of the Shrew, Hamlet, Romeo
Family Series on February 27.
and Juliet, A Midsummer Night’s Dream,
An audience filled with young
people, families, Ed Theatre students,
alumni, faculty, and staff delighted in
the magic of one of Shakespeare’s
As You Like It, The Tempest, and Twelfth
Night to some 25 schools per year.
For information on becoming
involved in Shakespeare to Go for the
most popular romantic comedies in an
2010/2011 school year, please contact
easy to follow adaptation created
Jonathan Jones at jonathan.jones@
especially for children.
nyu.edu.
Shakespeare to Go, founded in
PHOTO COURTESY OF JONATHAN JONES
Shakespeare to Go Presents A Midsummer Night’s Dream
at the Skirball Center for the Performing Arts
10 NEW YORK UNIVERSITY
EDUCATIONAL THEATRE PROFILES
PHOTO COURTESY OF MELINNA BOBADILLA
Reinvigorated Creativity
official acceptance email from Dr.
By Melinna Bobadilla (EDTC)
Christina Marin, head of the EDTC
track. As if the invaluable training
Last April, as I was anxiously
and joyous news of my accept-
awaiting to hear back about my
ance to NYU weren’t enough, I
acceptance to the EDTC Master’s
was also humbled and honored
program, I found myself in
with a nomination to become a
Minneapolis experiencing one of
PTO Board Member! After being
the most transformative events in
an active and vocal participant in
my educational and creative jour-
exciting workshops like “Hip Hop
ney. I was at my first Pedagogy
as an Organizing Tool”,
and Theatre of the Oppressed
“Nightmare Joker Moments:
(PTO) Conference where I attend-
Advanced TO facilitation” and
ed workshops, learned, spect-
“TO’s Response to Collective
acted, engaged in critical
Trauma”, I was nominated by a
discourse with leading Freireian
current Board Member to run for
educators, activists, and Theater
a position.
of the Oppressed practitioners
Melinna Bobadilla (right) and the Pedagogy and Theatre of the Oppressed (PTO) Board
One of the most important and exciting
tasks that a PTO board member participates in
is the organization and planning of the
yearly PTO conference…
On the final day of the confer-
from around the U.S. and the rest
ence, the yearly PTO Members
of the world.
Meeting took place where I,
American Studies (CMAS). The
early registration is available until
amongst a few other nominees,
designated theme for the confer-
May 3rd. There are several regis-
coordinating Educational Theater
spoke about my background and
ence is “Flex and Flexibility: When
tration options available for mem-
programming for El Teatro
my work and then, after a quick
to Bend? When To Stretch? When
bers, non-members, students, and
Campesino (The Farmworker’s
vote, was elected to a 3-year term
to Engage?” and it refers to the
organizations.
Theater) in California, and found
as a PTO Board Member!
ongoing discourse around the
At that time, I was acting and
myself at a crossroads in terms of
Also, anyone can become a
The PTO Board, headed by
various ways that Pedagogy and
member of the Pedagogy and
my career move, although I was
President and MA-EDTC Alum
Theater of the Oppressed can be
Theater of the Oppressed, Inc. by
already certain that my life would
Alex Santiago-Jirau, is made up of
modified, expanded and re-
paying the $150 standard fee or
not be complete without the pres-
16 diverse members from around
invented in order to remain cur-
$20 open access/student fee and
ence of theater and social justice
the country and includes profes-
rent and relevant to the changing
signing up on the website. If you
work.
sors, graduate students, commu-
needs of different communities. It
are on facebook, you can also
nity organizers and teaching
runs from June 3-6 with an excit-
receive updates by joining or
hosted by Augsburg College and
artists. One of the most important
ing pre-conference on Forum and
Pedagogy and Theatre of the
the PTO Board, “Mad as Hell?
and exciting tasks that a PTO
Jokering with Julian Boal and
Oppressed, Inc. fanpage.
Now Move, or Draw or Act:
board member participates in is
post-conference Rainbow of
Organizing for Social Justice,” not
the organization and planning of
Desire workshop with internation-
ing experience and I highly rec-
only served to further solidify my
the yearly PTO conference, which
ally renowned joker and TO prac-
ommend it to artists and
desire to pursue a career combin-
is a convening of educators,
titioner Barbara Santos of the
educators with any level of famil-
ing popular education, political
activists, artists, organizers and
Center for Theater of the
iarity with Pedagogy/Theatre of
activism and theater, but also
students who are committed to
Oppressed in Rio De Janeiro.
the Oppressed. If you want to cre-
reinvigorated my creativity and
creating social change through
aided me in preparation for enter-
the vehicles of popular education
have the inspirational and charis-
in your classroom though innova-
ing the EDTC program at NYU.
and Theater of the Oppressed.
matic co-founder of the United
tive and creative avenues while
Farm Workers and immigrant/
promoting justice and equality,
this is the conference for you!
The 2009 PTO Conference,
As fate would have it, amidst
This year’s conference will take
We are also very honored to
the workshops with TO legends
place at the University of Austin
women’s rights activist Dolores
Julian Boal, Doug Patterson, Chris
at Texas and is being hosted by
Huerta as a confirmed keynote
Vine, Brent Blair and Hip Hop the-
The Department of Theatre and
speaker. Registration for the con-
ater pioneer Mark Bamuthi
Dance with co-sponsorship from
ference is now open on the PTO
Joseph, I actually received my
the university’s Center for Mexican
website: www.PTOWEB.org and
This conference is a life chang-
ate change in your community or
See you in Austin!
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 11
Everything to Choose, or I Finished My Degree — Now What?
bookcase of knowledge that I will
By Kali DiPippo (EDTC, ‘09)
one day internalize as wisdom.
But time flies when you’re self-
With questions, we highlight the
discovering and here I am, only
incomplete. Taking a cue from
weeks away from finding a diploma
Freire, I see my queries not as
Several years ago, I bought a book
Program in Educational Theatre at
in my mailbox, and word on the
insurmountable obstacles, but
by Colleen Kinder called Delaying
NYU, my classes introduced me to
street is that I finally have to get a
rather as unfinished aspects of my
the Real World: A Twentysomething’s
Robert Landy, Paulo Freire, and
job (or a Ph.D., but that’s another
life I have the power to change. I do
Guide to Seeking Adventure. Chock
Dorothy Heathcote and furthered
story for another article). My
not seek predetermined answers
full of volunteer opportunities,
my knowledge of Augusto Boal,
degree may be done, but my life is
(the state of the economy does not
study abroad programs, and sug-
Bertolt Brecht, and Samuel Beckett.
still littered with questions: Will I
necessarily determine whether I will
gestions for road trips, it seemed
I caught ideas (and slung a few of
find a job? Should I take an
find a job), but rather investigate
the perfect way to avoid attaining
my own) as far away as Dublin. My
internship? Is it time to leave New
the possibilities for my future. I can
the title of “Grown Up.” With an
bookcase holds nearly fifty books
York? Can I afford to renew my
cast out cover letters and make
affinity for academia, I was drawn
more than it did a year and a half
lease in May? Fortunately, at NYU, I
choices about bites I get. If no one
to the suggestions about higher
ago. After many years of believing I
have learned to embrace questions.
takes the bait, I can opt for intern-
education. I revel in the adrenaline
was suited only for calling cues as a
Education is not about concocting
ships, sampling the cultures of mul-
rush of thumbing through a fresh
stage manager, I began to think of
a simple answer, but rather about
tiple New York theaters, as I
stack of syllabi, catching the ideas
myself as an artist and learned to
how many questions we can
continue to seek full-time employ-
my peers and professors sling
balance my knack for organization
generate. Answers can halt
ment. Nothing to lose; everything
across a classroom, and building a
with my passion for creativity.
learning; questions advance it.
to choose.
In attending the Master’s
Ed Theatre Allows Me to Be Myself
in the next few years I won’t feel
that way).
options in terms of class selection
After the writing course, I finally
school. Being in a room with so
PHOTOS COURTESY OF ROBERT STEVENSON
continued from page 1
many non-elitists is empowering
and fun because it allowed me to
(and who does in high school?).
met all of my classmates in
be as weird as I wanted to be. I am,
Now, our horizons have expanded.
Collegium — a class in which all of
at heart, an odd person, but thank-
We were all going to be studying
the undergraduates in the program
fully, we are aware of our quirks. Ed
something we wanted to learn
discuss general departmental ideas
Theatre allows me to be myself.
about: theatre, as well as its appli-
as well as specific applications. Last
Obviously, all of the freshmen
cations in the classroom and vari-
semester, the course was taught by
came into the program with differ-
ous educational settings.
Professor Jenni Werner who had us
ent expectations and goals, and as
collaborate with Second Stage to
the year has progressed, those
ter was Acting Fundamentals with
make a study guide for Anna
goals have changed. By now some
Professor Catherine Russell.
Deavere Smith’s Let Me Down Easy.
of us are completely sure that we
and I have taken this semester,
want to be teachers, or that we
Professor Russell has been incredi-
Our first class of the first semes-
Unfortunately, I missed it due to a
My first class with the Ed
Ed Theatre Freshmen on the Streets of
New York
scheduling error and confused-
Theatre undergrads was over-
never want to step foot into a
bly open about meeting before or
freshperson-syndrome. So my first
whelming — not because there are
classroom. Still others may be less
after class as well as giving career
class ended up being Writing the
a lot of us (there are only around
sure of career goals now than they
and audition advice. She is just one
Essay — a college-wide introduc-
forty), but because so many of the
were before Acting Fundamentals
example on a staff of so many
tion-to-writing course which is
older students had meaningful
on our first day of classes. Still, I
helpful and genuinely caring the-
notorious for seeming unnecessary
things to say. The most intimidating
think we have all come to learn that
atre and education professionals.
(perhaps after studying education
part of Collegium was listening to
Ed Theatre is wonderful for an
the upperclassmen talk. Even
unsure student. I can choose cer-
Theatre has been one of wonderful
though I probably could have come
tain classes over others based on
satisfaction. I grew up in
up with some comparably clever
my interests and objectives and
Greenwich Village so the city itself
things to say in class, listening was
pursue extracurricular activities and
has little to do with this content-
less threatening. Getting to know
internships outside of the class-
ment. Instead, it comes from being
everyone in the program has been
room and even the NYU
able to wake up every morning
incredibly helpful in putting this
Community. What makes this even
looking forward to the day and
problem to rest. I have learned that
easier is that the Ed Theatre pro-
knowing that my future career will
few in Educational Theatre feel
fessors are just as much a part of
involve theater.
superior as many of us were the
the community as the students. In
slightly-eccentric kids in high
both acting classes my classmates
2009 New Student Seminar
Personally, my experience in Ed
12 NEW YORK UNIVERSITY
Student, Faculty and Alumni Updates and Awards
CURRENT STUDENTS
Joe Salvatore
Alexander Santiago-Jirau (EDTC,
contributed a
‘09) taught a course entitled
Alex Siriani (Ph.D. Student) and
chapter called
“Theatre for Social Justice in the
wife, Nikki, welcomed Miles Robert
“Overcoming
Hispanic World: Style, Performance
and Cadence Mae at Northern
Fear and
and Production” at Drew University
Westchester Hospital in Mt. Kisco,
Resistance
this spring
High school students work
NY on January 29, 2010 at 12:33 pm
When Teaching
and he will be
with a director and
Shakespeare”
embarking on
graduate students from
to the
Looking For
Shakespeare
an ethnodra-
NYU to shape an original
Routledge
ma project
production of Shakespeare.
International Handbook of English,
about Jorge
This program is unique in
Language and Literacy Teaching
Steven Lopez
that the ensemble members
(Routledge, 2010). He also directed
Mercado — a
a reading of the English language
young gay
world premiere of CHAMACO: Boy at
Puerto Rican
the Vanishing Point by Abel
who was bru-
a Shakespearean play
Miles and Cadence Siriani
González Melo and translated by
tally murdered this past November.
resonates for them, within
and 12:34 pm respectively. Each
Yael Prizant as part of the 2010
their own personal
weighed 5 lbs. 9 oz.
NoPassport Conference on
experiences. Using these
February 26 at New Perspectives
connections as a source and
Gabriela
Theatre in Manhattan. Joe has also
inspiration, the ensemble
Tejedor
been invited to deliver closing
members will rehearse and
(ETHR, ‘11)
remarks at the 30th anniversary cel-
perform their own version
will be
ebration of University of Delaware’s
of the play. The production
spending her
Undergraduate Research Program
will be supported by
senior year
on May 8, 2010. His presentation will
designers and stage
as a member
include excerpts from his play III,
of the NYU
which will be published in The Best
Abu Dhabi
American Short Plays 2008-2009
Alex Sarian (EDTC, ‘07) presented
inaugural
(Applause, 2010).
(and is scheduled to present) work-
cohort of
Joe Salvatore
Gabriela Tejedor
RAs for the 2010-2011 academic
year. She looks forward to continu-
ALUMNI
ing her research in education and
will work with director,
Alexander SantiagoJirau
Nancy Smithner, and a
dramaturg to discover how
managers and will be
Alex Sarian
documented by a video
artist.
shops on Shakespeare Education at
This program will run for
the NJEA Convention, the Hawaii
four weeks — June 29th
International Conference on
through July 25th —
Education, and the National
FIVE DAYS A WEEK,
the role of theatre in an Islamic
Laurie
Conference on Education of the
from 9 am-3 pm. The
Nation.
Brooks (MA,
Cayman Islands. He will also be pre-
experience will culminate in
‘91, Former
senting “Research in Action
three public performances
Assistant
Dialogue: A Radical & Accessible
on July 23th and 24th at
Approach to Creative Assessment”,
8 pm, and July 25th at
on behalf of Urban Arts Partnership,
3 pm.
Professor)
FACULTY
has pub-
Laurie Brooks
David
lished her
at the CommonGround 2010
Montgomery
first book for
Conference in Albany, NY.
NYU students may register
young adults,
For more information visit
for E17.2982-001 Directing
on writing
Selkie Girl, Knopf,
www.alexsarian.com
Youth Theatre Productions:
two chapters
2008. Her newest
Looking for Shakespeare
of the recent-
play, Atypical Boy,
for 3 credits.
ly published
premiered last
book,
March at The
For further information,
Teaching U.S.
Coterie Theatre,
please contact the instruc-
History:
Kansas City, MO. She was artist in
tor, Nan Smithner, at:
Dialogues among Social Studies
residence at Arizona State
[email protected]
collaborated
David Montgomery
Teachers and Historians (Routledge,
University in 2008 and currently
2010), edited by Diana Turk, Rachel
resides in Phoenix. Visit her website
Maltson, Terrie Epstein, and Robert
at www.lauriebrooks.com
Cohen.