Revue
News from the Program in Educational Theatre
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
NUMBER FOURTEEN • SPRING 2011
Provincetown Reopening
FROM THE DIRECTOR
unveiling of a permanent display in
Celebrating Artistic Praxis in
Educational Theatre
Next year marks an anniversary of
sorts, the tenth year in which I and
my full time colleagues, David
By Jonathan Jones (Ph.D. Student)
Provincetown Playhouse. This is the
of performance arts venues,
including the landmark
Provincetown Playhouse on
Montgomery, Joseph Salvatore
MacDougal St, the Frederick
and Nancy Smithner,
Loewe Theatre on
began at NYU. Hard to
West 4th Street, the
believe that in that peri-
Skirball Center for the
od we have overseen
Performing Arts on
close to fifty mainstage
Washington Square
and community-
South, and our Black
engaged productions.
Box studio on
The process of artis-
For eight months I worked under
second renovation of the theatre
the direction of Associate Dean
since Lowell Swortzell worked with
Lindsay Wright researching over
the university to preserve the space
sixty years of performance history
in the 1990’s. As a result of his work
at the Provincetown Playhouse. The
and dedication, the Program in
culmination of that research project
Educational Theatre has been able
was an open house on Saturday,
to grow New Plays for Young
December 11, 2010, featuring the
continued on page 3
Washington Place. At
tic praxis (Action,
our Global centers,
Reflection, Transforma -
students have worked
Dr. Philip Taylor,
Program Director
our mission. We commit
at the Samuel Beckett
center in Ireland, the
to the notion that the next genera-
Globe Theatre in London, the
tion of educational theatre opera-
Royal Shakespeare Theatre at
tives need to make, perform,
Stratford upon Avon, and the
evaluate and apply their artform. It
Center for the Theatre of the
is therefore vital to our enterprise
Oppressed in Brazil.
that students have multiple oppor-
But as an educational theatre
tunities to engage with their own
program where many study with
and others’ theatre artistry.
us because of our outreach and
Our students work in a range
PHOTO BY CHIANAN YEN
tion—ART!) is core to
INSIDE
the lobby of the newly renovated
continued on page 2
The façade of the Provincetown Playhouse.
4 Theatre for Public Health Forum 5 Meet the Spring 2011 Swortzell Scholars 6 The Miracle of Theatre 8 Jana Sanskriti
2 NEW YORK UNIVERSITY
Celebrating Artistic Praxis in Educational Theatre
continued from page 1
applied theatre focus, we work in a range of
community and school sites. Since 2003, we
TEN YEARS OF OUTSTANDING PRODUCTION WORK:
SOME HIGHLIGHTS
have taken our clever cuts of Shakespeare to
over 3,000 students in 300 schools, as well
as established our own youth theatre
ensemble that works throughout the year,
including the summer. We have a long
standing prison theatre initiative, and have
collaborated in homeless shelters, hospitals
Contemporary American Theatre
• 5 X Wilder dir. by Joe Salvatore (Fall 2003)
• Gross Indecency: The Three Trials of Oscar Wilde dir. by Dr. Philip Taylor (Spring 2007)
• Sonia Flew dir. by Dr. Nan Smithner (Spring 2010)
• Provincetown Players dir. by Joe Salvatore (Spring 2011)
with terminally ill children, and with other
agencies committed to social welfare and
equity.
Contemporary Avant-Garde
• Polaroid Stories dir. by Joe Salvatore (Fall 2006)
Each year we offer a storytelling season
for our Greenwich Village community, as well
as a play development series on theatre for
young audiences. The Provincetown
Playhouse originally began to support new
works by American authors, and I am
delighted to say we have continued in that
tradition in our sponsorship and
Theatre for Young Audiences
• The Mischief Makers dir. By Professor Nancy Swortzell (Spring 2003)
• Folktale Journey dir. by D. Montgomery (Spring 2004)
• Arabian Nights by Professor Lowell Swortzell (Spring 2004)
• The Giver dir. by David Montgomery (Spring 2009)
• Stories from the Magic Lake dir. by David Montgomery (Spring 2006)
• Kindertransport dir. David Montgomery (Spring 2008)
commissioning of numerous original scripts.
Furthermore, Theatrix!, a student ensemble
under faculty supervision, develops skills in
playwriting, acting, directing, theatre
technology, and teaching artistry.
All of this artistic praxis is supported by a
rich and well rounded curriculum committed
Classical
• Blood Wedding by Lorca (Fall 2002)
• The Caucasian Chalk Circle dir. by Dr. Philip Taylor (Fall 2004)
• Eumenides dir. by Dr. Nan Smithner (Fall 2007)
• Woyzeck dir. by Dr. Philip Taylor (Fall 2009)
• Midsummer Night’s Dream dir. Dr. Nan Smithner (Spring 2004)
to play production and design, history and
criticism, dramatic literature and theatre
pedagogy. I do hope you will join me over
the coming year as we celebrate the
Musical Theatre
• Jacques Brel co production with VP, (Fall 2002)
• Alice: The Looking Glass Girl dir. by Dr. Amy Cordileone (Fall 2010)
remarkable artistic legacy that began here in
1966 and has been consolidated in the past
ten years by an exceptionally dedicated and
talented faculty. I am forever grateful to
them for their support and passion. Thank
Devised Theatre
• God Lives in Glass by Dr Landy, co production with VP (Fall 2003)
• The Class Project dir. by Joe Salvatore (Fall 2008)
• Brecht Beckett Workshop dir. by P. Taylor (Spring 2003)
you Nan, Joe and David! And kudos to all
those artists who have contributed greatly to
the program’s creative life.
Contemporary British
• Love and the Nightingale dir. By Zachary Moore (spring 2003)
• Mad Forest dir. Dr. Nan Smithner (Fall 2005)
Editor-in-Chief: Amissa Miller | Photo Editor: Amissa Miller
Revue
Program in Educational Theatre
Department of Music and Performing Arts Professions
Steinhardt School of Culture, Education, and Human Development
Joseph and Violet Pless Hall,
82 Washington Square East, New York, NY 10003
Number Fourteen, Spring 2011
http://steinhardt.nyu.edu/music/edtheatre
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 3
Provincetown Reopening
continued from page 1
Davis, Charles Gilpin, Paul Robeson,
Mary Blair, Pat Carroll, and Cynthia
Audiences, Looking for
Nixon. Productions represented in
Shakespeare, and Storytelling, three
the display include Lowell
program initiatives which return to
Swortzell’s Young Eugene (1998),
the Provincetown during this aca-
Edward Albee’s The Zoo Story
demic year.
(1960), Laurie Brooks’ Everyday
Heroes (2002), Charles Bush’s
afternoon was a visit by Professor
Vampire Lesbians of Sodom and
Nancy Swortzell, co-founder of the
Times Square Angel (1985), Marty
Program in Educational Theatre.
Martin’s Gertrude Stein Gertrude
She stopped by in order to present
Stein Gertrude Stein (1979), Eugene
certificates to the six new Swortzell
O’Neill’s The Emperor Jones (1920)
Scholars (see their profiles on
and All God’s Chillun Got Wings
page 5). She was joined on stage
(1924), Seth Zvi Rosenfeld’s Servy-n-
by Dr. Nan Smithner and Dean Mary
Bernice 4-ever (1991), and Sam
Brabeck to congratulate the
Shephard’s The Unseen Hand (1982).
students on their achievements.
The display features images of
PHOTOS BY CHIANAN YEN
Among the highlights of the
Storyteller Regina Ress returned
to The Provincetown with Stories
Eugene O’Neill, Susan Glaspell,
from the Provincetown on Sunday,
George Cram Cook, Ida Rauh, Mina
February 11, 2011. Professor Joe
Loy, Djuna Barnes, and Edna St.
Salvatore presented Plays from the
Vincent Millay (members of the
Provincetown Players as our spring
Provincetown Players) as well as
production in late February and
playwright Edward Albee and
early March.
Associate Dean Lindsay Wright and Doctoral Fellow Jonathan Jones stand in front of the lobby
display in the newly renovated Provincetown Playhouse.
actors Rose McClendon, Bette
The renovation retained the character of the space while updating its functionality.
Professor Nancy Swortzell, co-founder of the Program in Educational Theatre, presents
certificates to six new Swortzell Scholars.
THE BULLY MENACE SYMPOSIUM: APRIL 2011
tyrannical stranglehold, thereby
Theatre Symposium seeks to
pedagogues in order to facilitate
causing it to instantly crumble. The
explore these and other questions
both personal and academic
cruel reality, however, is much more
through applied theatre in an effort
growth in students. Dramatic
The playground bully has been a
subversive and complex, though
to further the discussion on this
activities will be used to illuminate
longstanding archetypal villain,
long-suffering victims are finally
epidemic of oppression. The
and explore what has long
cultivated in our collective
finding their voice.
primary focus of this symposium
remained a cloaked iniquity for our
will be to foster dialogue regarding
young people. It is our most sincere
By Alex Siriani (Ph.D. Student)
unconscious through the faded
How does this dynamic begin
remembrances and cautionary tales
to manifest and escalate? How and
the multiplicity of experiences by
hope that through these efforts we
of our formative years. Employed as
why do perpetrators victimize?
employing dramatic activities in
might uncover functional methods
an unavoidable hurdle along the
What are some effectual responses
search of meaning-making. As
for dethroning the “bully menace”
path to individual autonomy, the
and support systems available to
these senseless brutalities become
and instilling agency in all students
role had nearly been demystified to
those in need? What role should we
more commonplace each day, the
for future application.
almost benign — hoping to
as educators/facilitators play? The
need for a deeper understanding of
empower those to simply defy the
Bully Menace and the Applied
their impetus is vital for all
4 NEW YORK UNIVERSITY
Happenings
New Student Seminar Career Day
By Ashley Thaxton (ETHR ’14)
relaxation techniques to interview
was the wide variety of careers
pointers, every base was covered.
and experiences the panelists
Towards the end of the
spoke about, including work they
Theatre for
Public Health
Forum
During the fall 2010 semester,
semester, we enjoyed the
had done all over the U.S. and the
Thursday afternoons found the
company of a diverse panel, there
world. It was incredibly inspiring to
first year students of the
to answer our most pressing and
see successful theatre artists that
Educational Theatre
daunting question: “What on Earth
are making a difference through
undergraduate program all
are we going to do after
their work. They shared with us
The Program in Educational
together in the basement of 35
graduation?”
their struggles and triumphs,
Theatre is delighted to host the
We heard from Jonathan Jones,
setting much of our trepidation in
NYU Forum on Theatre for Public
Alex Sarian, Melinna Bobadilla, and
regards to the future at ease. The
Health from April 21-23. The goal
together each week, with our
Liane Tomasetti. All of them are
more we continue to learn and
of this forum is to facilitate a
fearless leaders Sara Simons and
associated with the program in
explore, the more I am increasingly
dialogue on the intersections
Liane Tomasetti, we had countless
Educational Theatre, either as a
thankful to be a part of the
between drama and public health
questions answered as we learned
graduate student, alumni, or
incredible community of artists
education. The forum will also
all there is to know about being a
undergraduate, and they were all
and educators that is Educational
investigate the perceived
successful student at NYU. From
such valuable resources for us.
Theatre.
boundaries and barriers for
navigating the library’s websites to
Perhaps the most exciting aspect
West 4th Street.
During the hour we spent
By Sara Simons (Ph.D. Student)
artists and educators when
delving into health education, as
well as those for health
professionals when utilizing
drama in their work. The Call for
PlayLAB with Humana Festival
Proposals has received
From November 16th-21st, The
Ekene Okobi
Tyler Grimes
Program in Educational Theatre
Working with Amy Wegener was a
As a very young playwright, there
partnered with Actor’s Theatre of
once-in-a-lifetime opportunity that
are few things more valuable than
Louisville and the Humana Festival
gave me renewed confidence in
the experience of an intensive
for a series of play development
my skills as a dramatist. She gave
workshop with a professional in
workshops and panels focused on
me focused and insightful
the field. The fact that we had the
cultivating new voices in U.S.
comments that helped bring my
privilege of working with someone
American Theatre.
work to the next level. I have been
from the Actor’s Theatre of
writing plays since I was 8 years
Louisville is a true honor. I met
10 minute plays written by
old, and yet sometimes I neglect
with Amy Wegener, and we talked
students in Educational Theatre
to take my talent seriously enough
for a solid hour about my play,
who had the opportunity to have
to further develop the work I
Meat. She offered up incredibly
their work heard and receive
create. The PlayLAB process
smart and constructive criticism,
The week featured readings of
valuable encouragement and
renewed my faith in my own
which allowed for me to hone in
feedback from dramaturg Amy
artistic abilities. Throughout the
on the big problems with my play.
Wegener.
process, Amy also modeled for me
While I did not get to see the
the ways in which an instructor
reading of my play, I know it is in a
plays were selected were Ekene
can provide the sort of thoughtful
much better place thanks to my
Okobi and Tyler Grimes.
feedback that brings the best out
time with Amy.
Two of the students whose
of a student’s work. An added
bonus of the entire experience
was that Amy encouraged me to
keep writing and expressed an
interest in seeing more of my
work. This experience was such a
blessing for me, it was the
inspiration I needed and I am so
grateful to have had it!
submissions from scholars and
practitioners from various fields
across the globe, working on
topics such as nutrition, HIV
prevention, and substance abuse.
The Forum will include plenary
sessions with experts from
theatre and public health, as well
as presentations and hands-on
workshops that will leave
participants with valuable skills
to incorporate into their work.
In discussing the diverse work
being implemented across the
world in schools, community, and
health care settings, the Program
in Educational Theatre will
facilitate a conversation about
how theatre can be used to
improve public health outcomes
and education around public
health issues. Artists and
educators will learn side-by-side
with public health professionals
at the Forum, discussing issues
such as ethics, aesthetics and
evaluation as the growing field of
theatre for public health evolves
and expands.
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 5
EDUCATIONAL THEATRE PROFILES
Spring 2011 Swortzell Scholars
This generous scholarship was
Jack Dod is a
Studies; teaching track, emphasis in
recently seen on stage as Lilly in
established by the co-founders of
sophomore in
drama education. Michelle is happi-
NYU’s production of Alice: The
the program in Ed Theatre, Lowell
Educational
ly married and has one large dog.
Looking-Glass Girl.
and Nancy Swortzell. Each scholar
Theatre and this
wrote a 200-word essay on what the
is his first semes-
Ekene Okobi is a
Jonathan
NYU Steinhardt Educational Theatre
ter in the pro-
first-generation
Zautner received
program means to them and have
gram. He is from
writer who has
his BFA in Dance
received a tuition bursary to assist
Portland, Oregon. He loves to ski
produced news
from UW-
with their spring or summer studies.
race, perform magic, write plays,
stories for a
Milwaukee. While
The fund has enabled over 30
act, play Halo, play basketball, and
number of NPR-
working as a
students to date to reap the benefits
watch the greatest basketball team
affiliated shows
dance educator
of this wonderful gift.
of all time, The Portland Trail
and stations in Los Angeles and
with the Milwaukee Symphony
Blazers. Follow him on Twitter
Washington, D.C. She is originally
Orchestra, he found enjoyment in
Solange De Santis
@BlazingTheTrail or follow his
from San Francisco and has
teaching within a public school set-
is a candidate for
soon-to-be-operational blog: The
returned to school in order to
ting and became a high school
the M.A. in
Overtime Index (http://theover-
rekindle her love affair with
drama coordinator. A strong desire
Educational
timeindex.blogspot.com).
performance and theatre.
to continue to learn and grow as a
and Communities
Michelle Hakala
Ashley Renee
led Jon once again toward higher
(graduating May
Wolf is currently
Thaxton is a
education, where he is thrilled to be
2011). She is an accomplished arts
in the EDTC
freshman in the
a part of the Educational Theatre
journalist (www.solangedesantis.
Master’s
undergraduate
program at NYU.
com) seeking new horizons in
Program. Raised
program in
drama education and is eager to
in Northern
Educational
share her passion for the
California she has
Theatre. A
transformative power of theater.
lived all over the country. Michelle
Southern California native, she has
If you would like to donate to the
She is also a theater practitioner
spent most of her life acting,
worked as Stage and Company
Lowell and Nancy Swortzell
with experience in directing, sound
singing and teaching acting and
Manager of the Pasadena Musical
Scholarship Fund, please visit:
design, playwriting and stage
singing. She received her Bachelor’s
Theatre Program, a non-profit the-
http://steinhardt.nyu.edu/music/ed
management.
degree from California State
atre arts program for elementary to
theatre/programs/scholarship
University, Hayward in Liberal
high school students. She was most
Theatre, Colleges
theater director and implementer
.
The NYU Prison Theatre Initiative with Rehabilitation Through the Arts (RTA)
The workshop, which met every
By Dr. Nan Smithner,
Clinical Assistant Professor
In the following sessions, we
session, we did a very raw staged
other week for eight sessions,
engaged in intensive Physical
reading led by me and my assistant
began with a brainstorming session
Theatre sessions, and then the men
director, a member of the WCF
to cull themes for the piece. The
immediately wrote stream of
inmate steering committee, adding
The Prison Initiative continued in full
men articulated the notion that
consciousness monologues, rants,
choreography, vocal effects and
force this Fall 2010 at Woodbourne
they wanted to create a work that
raps and plays on words. We
blocking. Marilyn and Lucia had
Correctional Facility. I led a
took place outside the prison walls.
created tableaux, moving pictures
roles in the play, some of which
workshop on devising original work,
I asked the men to each write down
and improvisations on the themes
were in Spanish. While the final
and was accompanied by two
5 themes that they were interested
as well. During the two-week period
reading was rough, we had in
graduate students, Marilyn Young
in exploring. From these ideas, we
between class sessions, the men
attendance the Superintendant of
and Lucia Rodriguez. The goal was
narrowed down the topic to four
went away and wrote scenes. In
the prison, the Head of Programs,
to create an original piece of theatre.
major themes: the trouble with
class, we shared the scenes and
and director of RTA. At the end,
There were approximately 15 men in
change, the power of forgiveness,
discussed them, critically reflecting
there was not a dry eye in the
attendance. At this point in time, I
ambitions of chaos, and the
on the dramaturgical implications
house, as the play was extremely
had been working with some of the
hypothetical Mosque proposed to
for the show as a whole. The men,
moving and completely absorbing.
men for 3 years, teaching Physical
be built near Ground Zero. The men
with our feedback, put the
Our plan is to revisit the work, hone
Theatre, Physical Comedy, Clown,
were compelled by this cultural
monologues and scenes together in
it and perform it in April.
and Directing, and had developed a
debate because it incorporated
an order, which wove various
vocabulary and an ensemble training
both religious and political
characters throughout the play in a
system with them.
controversies.
collage-like format. On the final
6 NEW YORK UNIVERSITY
| R E P O R T F R O M B E L FA S T |
Theatre for Young Audiences Northern Ireland (TYANI) conference: “Gathering 2010”
One of the main objectives of
By Dr. Nan Smithner,
Clinical Assistant Professor
This gathering was an unprece-
drama, puppetry, storytelling,
the gathering was to build the
dented meeting of the minds since
experimental theatre and circus
infrastructure of theatre for young
all other TYANI conferences have
arts. The goal of the conference, to
people, to increase its profile and
been held in the south, in Dublin
share work and get new ideas, was
In October 2010, I traveled to
develop its sustainability. Local
and elsewhere in Ireland. There was
clearly achieved. For my part, I was
Belfast for an event designed to
performances were presented on
discussion of a need for peer
able to participate in and observe a
bring together producers and pre-
an international platform, as there
review, giving critical feedback, and
model wherein producers, artists
senters of theatre for young audi-
were representatives present from
the creation of new partnerships.
and companies were exchanging
ences in order to share best work
France, Scandinavia, England,
Suggestions were made that there
ideas and pooling resources to gain
practices and methodologies
Spain, Germany and the US.
needs to be a framework to create
a fuller idea of the value of theatre
towards the development of the-
Discussions and practical
language to discuss artistic work,
for young people. If we, in this
atre for young people throughout
workshops were held about how to
either through mentorship, collabo-
country, could create and sustain
Ireland. As part of the TYA-UK
foster cross-border and
rative exchange and creation of
such a dynamic cultural exchange
Centre of ASSITEJ (International
international collaborations, create
aesthetic standards.
concerning the state of TYA in the
Association of Theatre for Children
accessibility to work for young
Inspiring performances were
and Young People), TYANI is linked
audiences, and form a support
offered at the conference of differ-
greatly benefit. In the Program in
to theatres, organizations and indi-
structure to assess new work and
ent types of theatre for young peo-
Educational Theatre, we are keen to
vidual artists around the world.
improve quality.
ple of varying ages, i.e. serious
continue the dialogue.
| O N S TA G E |
US, the work developed here would
The Miracle of Theatre
By John Lavigne (ETHR’11)
Sometimes small conversations can lead to
great experiences. This became clear last spring
when, by chance, a short conversation with
David Montgomery led me to audition for the
New Plays for Young Audiences (NPYA) festival.
“Sure, why not?” was my response to the invitation, and I am ever grateful for auditioning. I was
The cast and crew in the developmental process.
fortunate enough to be cast in a new play by
Jose Cruz Gonzales titled, at the time, Mighty
Miracle Saves the World. Admittedly, I had some
misgivings about being cast as a dog named
Miracle. I heard somewhere that it’s never a good
idea to work with animals (or children), but considering my lack of experience with theatre for
young audiences, I went for it. As with all the
plays developed by NPYA—three plays in three
weeks every summer—the series gave me direct
contact and experience with the creative process
The cast and crew of Mighty Miracle Saves the World.
Jon Lavigne, right, as Miracle, with Carolyn Burke
(background) and Brandie Lee Johnson
(foreground).
of playwriting and developing Mighty Miracle,
which was most exciting.
scenes. The dialogue and situations evolved, and
help in the creation of the physical and emotion-
every day a little more of the play came into
al framework of my character Miracle, and ulti-
renowned TYA playwright, Jose Cruz Gonzales;
focus. From a student’s point of view, participat-
mately led to a unified vision of the character.
the director, Emily Kohring from the Metro
ing in NPYA offered the chance to be a part of
Theatre Company in St. Louis, Missouri; and dra-
the creative process during the early stages of a
that was wonderfully unique and worthwhile.
maturg Cecily O’Neill, leading educational the-
play’s development and see the combined
Playing a part — no pun intended — in the
atre practitioner, author and theorist to bring to
efforts of the creative team come together. As
creation of a new story, and collaborating with
life a fun, engaging, sensitive and brand new
an actor, the collaborative efforts of the crew
professionals in the field, is an experience for
piece of theatre for young audiences. Each day,
gave me the opportunity to continually develop
which I am truly grateful. Thanks to Jose, Emily,
the cast, director, playwright and dramaturg
and refine my character. Creative and construc-
Cecily and the rest of the cast for their help and
worked together in editing and experimenting
tive feedback from Jose, Emily and Cecily, as
guidance in making the festival a highly
with dialogue, often through the staging of
well as the rest of the cast, was an enormous
meaningful experience.
The cast worked hand in hand with the
The NPYA series afforded me an experience
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT 7
PHOTOS BY MARIA ROSALIE ZERRUDO
Salsa Colada Politica Y Cultura
A poem by EDTC MA Candidate Maria Rosalie Zerrudo on her experience in Puerto Rico with the
Winter Intersession course
Salsa Colada Politica y Cultura
Puerto Rico
In your shores
You welcomed people of all colors
Young and old, black, brown, de color, Moreno, mulato, prieto, indio, negrito, blanco and mocha
Mixed like your famous original piña colada
Students show off the masks they created in a
workshop with Deborah Hunt.
I heard your people speak in many voices
Language so sweet
Silenced by mascarera Deborah Hunt
For she lets the masks speak loud for freedom
She never stops to create so women have a voice against violence
I am speechless, when I find a haven in Ponce where colors blends with garden and sky
Only a man with a superfluous visions and a mind advance of his time
Inanimate things come alive for they become extensions of his soul
“when is a sketch a final drawing, when is a drawing a sketch”
The tireless Antonio Martorell speaks of “drawings as narration without the words”
Dr. Lowell Fiet, theater critic and scholar (3rd
from left), with Dr. Nan Smithner, Professor Javier
Cardona and students.
One afternoon we met Maricha Perez and the Jovenes de ’98
for a quick exchange of ideas as starter
A youth-based street theater
inspired by Theater of the oppressed practitioner
Together we created powerful images and gained a new sense of connections
Oh adios Puerto Rico mi amor
I shall long to be back in your shores
I shall let this memory grow in my heart
Until the next time I see you again, we remain familiar, dear and sweet.
Students put together body poetry with
choreographed and expressive movements,
communicating with only the body.
Shakespeare-To-Go Across the City
Each scene leads directly into the
more than any other, the actors are
We also receive some very thought-
next with very few transitions or
aware that they are in front of a
ful ones: Why do these families hate
breaks, utilizing physicality or
crowd. We definitely sense the
each other so much after so long?
On Friday mornings, the
sounds to indicate separations. Our
excitement and hear the conversa-
Where did Romeo get the poison he
Shakespeare-To-Go ensemble wakes
forty-five minute production is obvi-
tion when Romeo (Tyler Grimes) and
uses? How did all of you decide to
in the early morning for a subway
ously quite shortened, but it main-
Juliet (Jess Honovich) first kiss or
become actors? Hearing from indi-
ride to a New York City school. We
tains the themes and language of
when Mercutio (Andie Patterson)
vidual students reminds us of what
wear our costumes and carry a large
the original text surprisingly well.
and Tybalt (E Okobi) are killed. We
we appreciate so much, as educa-
suitcase, as well as a seven-foot-tall
Certain scenes in the full-length play—
can speak directly to the audience to
tors and collaborative artists.
walking stick. We get inquisitive
such as the opening disagreement
grab their attention or call upon
looks. Then, at around nine or ten,
and fight (“thumb-biting”)—are sim-
their feelings during a monologue.
performed to a large crowd of chil-
once we’ve all arrived and our
ply shortened or indicated visually.
Another rewarding aspect to
dren, parents, and members of the
By Robert M. Stevenson (ETHR ’13)
On March 5th, the ensemble
playing space is prepared, we begin
The longest scenes in the
the production is the talkback fol-
Ed Theatre community at the
the performance: Romeo and Juliet
show—only about five or seven min-
lowing every show. We’ve received
Skirball Center as a part of the
for elementary through high school
utes—can still seem long to our
some very funny questions: How
2010/2011 BIG RED CHAIR FAMILY
students.
young audiences, but this is much of
does the knife work? Are Romeo
SERIES. The Shakespeare-to-Go
the fun of performing with
and Juliet really married? What does
school tour continues until Friday,
Shakespeare-To-Go. With this show
Romeo’s girlfriend think about this?
May 6th.
With a cast of eleven, the show
is very much an ensemble piece.
8 NEW YORK UNIVERSITY
Theater of the Oppressed: Jana Sanskriti
facilitated by Sanjoy Ganguly, the charismatic
By Lorena Elizondo (ETHR ’11)
founder and representative face of Jana
Sanskriti. However, “we” were no longer a group
Thanks to the generosity of the Program in
of four students from NYU, but a group of over
Educational Theatre, I was given the opportunity
seventy people representing almost 30
to travel to India and attend Muktadhara IV, a
countries. These workshops exposed me to
biannual festival held in the heart of West Bengal
many variations of TO techniques currently used
celebrating the work of the pan-national Jana
by practitioners around the world. There were
Sanskriti movement. Before arriving in India, I
some directly political variations, as well as more
had some previous knowledge of Jana Sanskriti,
personal variations. We created strong
but my academic understanding of the largest
relationships that continue to flourish and
Instead, I was full
Theater of the Oppressed (TO) movement in the
shorten even the longest distances.
of energy and
world fell extremely short of its reality. From the
At the end of the first week we were
Supporters and puppets march to the festival ground on the
“March for Humanity.”
love.
first moment we set foot in India, Jana Sanskriti
transported to Kolkata for five days of
welcomed us with open arms, making us feel
celebration, workshop and performance at the
experience in India
comfortable and at home.
Muktadhara IV festival. Watching Forum Theatre
was incredible. I
from around the world was an amazing
learned more
resort-type hotel located in the village of Badu,
experience. First of all, I became aware that,
about TO and its
just outside of Madhyamgram. Here we
although the specifics differ, human struggle
practices and
participated in a week long workshop called
remains universal at its core. Secondly, I re-
representations
“Scripting the Play Instead of Playing the Script”
evaluated how I view and assess Forum Theatre
around the world
plays. I learned to view Forum Theatre not for
than I had in more
its inherent political content but as a piece of
than two years of
art in itself.
independent
The first week of the festival was spent at a
The festival culminated in an amazing finale.
Melinna Bobadilla in the “Scripting the Play Instead of Playing
the Script” workshop.
Overall, my
research and
Robert Keith (right), participates
in the workshop.
We joined Jana Sanskriti supporters several
education. I learned
miles north of the festival ground and began
how to trust myself and my instincts, as well as
what Sanjoy called “a march for humanity.” The
how to use the theoretical concepts about
procession of giant puppets, drummers, singers,
collaboration, social theatre, education and
dancers, foreigners, and citizens was undoubted-
group work that we are taught here in the
ly a gesture of global solidarity. When we arrived
Program in Educational Theatre.
at the festival ground several hours later, my
body should have been overwhelmed by fatigue.
— Robert Keith ETHR ’13, contributed to this article
Student and Alumni Updates and Awards
Robert Stevenson (ETHR ’13) and
City University of New York. Dr.
Honey Goodenough (EDTC ’06)
his speech highlighted his experi-
Emma Lieber (ETHR ’14) were
Levenson teaches all aspects of
founded an Alumni Scholarship to
ence in the Shakespeare-to-Go
among a group of students who
speech and communication,
attend the National Puppetry
touring company. TEDx is a pro-
travelled to San Francisco during
including Oral Interpretation,
Conference held at the Tony
gram of local, self-organized
the winter recess. From January
Speech 101, Speech for Non-
award winning Eugene O’Neill
events that bring people together
16th - 20th, the Steinhardt
Native Speakers, Voice and
Theater Center. The second annu-
to spread ideas. The speech is on
Scholars explored their year-long
Diction, and others. She also pre-
al fundraiser is called Puppet
Youtube at the following link:
theme while taking in the sights
sented on a panel last October for
Pandemic, a showcase of works
http://www.youtube.com/watch?v
and doing community service.
ALTA, the American Literary
developed at the National
=56GBnm3zdzg. Alex currently
Robert, Emma, and the other
Translators Association, on trans-
Puppetry Conference. She also
serves as the Director of
scholars assisted in the final
lating for actors in the works of
appeared in Phantom Limb’s The
Education and Outreach at MCC
stages of construction of several
Anton Chekhov. Her book Acting
Fortune Teller at HERE Arts Center.
Theater.
East Oakland homes for Habitat
in Translation is being re-edited for
for Humanity.
Routledge Publishers. During
Alex Sarian (EDTC ’07) gave a
summer 2010, she taught Script
TEDx speech at the Ontario
Dr. Robin Beth Levenson (Ph.D
Analysis for the Stella Adler
Science Centre in Toronto in
’07) is now Assistant Professor of
Studio Summer Intensive
November, in which he spoke
Communication Studies at
Program.
about Educational Theatre and his
LaGuardia Community College,
time in the program. In particular,