Hamilton Dramaturgy's TheatreNow!


DON’T FEED THE INDIANS on youtube

Murielle Borst TarrantMurielle Borst Tarrant

La MaMa in New York City presented the Urban Indigenous Arts & Culture Symposium performance of DON’T FEED THE INDIANS – A DIVINE COMEDY PAGEANT livestreaming from CultureHub on the global, commons-based peer produced HowlRound TV network at howlround.tv on Friday November 14.

Murielle Borst Tarrant spoke about creating this pieces as a guest of TheatreNow (Season Three). Here is the transcript of our discussion: Hamilton Dramaturgy’s TheatreNow! Interview with Murielle Borst Tarrant.

WATCH THE VIDEO HERE: http://youtu.be/41Vj9u0Ig-M

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TheatreNow! Interview with Murielle Borst Tarrant

Hamilton Dramaturgy’s TheatreNow! is a podcast series featuring some of the most exciting women artists working in the theatre today. Anne Hamilton is the producer and host. You may listen to the podcasts and read the transcripts at http://hamiltondramaturgystheatrenow.com

 Murielle Borst Tarrant

Hamilton Dramaturgy’s TheatreNow!

Interview with Murielle Borst Tarrant

Playwright, Director and Producer

(Season 3, Episode 5, Recorded July 12, 2012)

Hamilton Dramaturgy’s TheatreNow! Interview with Murielle Borst Tarrant

Anne Hamilton: Welcome to Hamilton Dramaturgy’s TheatreNow! This is a podcast series featuring some of the most exciting female artists working in the theatre today. I’m your host, Anne Hamilton. Today our guest is Murielle Borst Tarrant.

Murielle is a member of the Kuna and Rappahannock Nations. She is an author, playwright, director, producer, cultural artist, educator, and human rights activist. She comes from a long line of cultural activism with her family’s theater company, the world famous Spiderwoman Theater, located in New York City. For four years she served as the Special Assistant and liaison to Tonya Gonnella Frichner, the North American Regional representative to the United Nations Permanent Forum on Indigenous Issues. Finally, she is the director of “Safe Harbors” Indigenous Arts/Theatre Collective at La Mama ETC.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

 



TheatreNow! Season Four – Dramaturgs and Critics

The TheatreNow! Archive is currently a work-in-progress and will feature all the Season Three’s podcasts in the upcoming month.

2014 has been a building year. We have expanded our staff with the addition of Danica Rodriguez and Thais Flaitt Giannoccaro. Our global outreach has increased with representatives in the US, UK, Asia, and South America, and we have plans to translate our interviews into Korean and Portuguese. We also have a Young Adult Representative to help us build more interest in the theatre profession, especially among young women.

Season Four will be dedicated to creating an oral history of six leading dramaturgs and theatre critics active on the American scene, with specialties in new play development, new musical development, dance, opera, women’s studies, journalism, and cultural criticism . In the interviews, I will explore questions such as: How can we take advantage of advances in technology to push the dramaturgical profession forward? How have others done so? Do leading practitioners in the arts of dramaturgy and theatre criticism have anything in common? What is it? How can I expand my own practice to become an independent curator, journalist and advocate in a meaningful way? How can I advance the gender parity movement among theatre artists? How can I add content to the current movement for archiving theatre artists’ and companies’ works? How can I help the public to meet and recognize female theatrical experts across all disciplines? And, How can I use my dramaturgical skills and access to help young adults become interested in pursuing any of the theatrical professions?

Staff List

Anne Hamilton, Producer and Host
Otto Bost, Sound Designer
Cate Cammarata, US Representative
Walter Byongsok Chon, Asia Representative
Natalie Pandya, UK Representative
Danica Rodriguez, Young Adult Representative
Thais Flaitt Giannoccaro, South America Representative
Nancy Ford, Composer, TheatreNow! Theme
Helaine Gawlica, Digital Archivist and Website Creator

http://hamiltondramaturgystheatrenow.com

https://soundcloud.com/theatrenow-1

 

 



Anne Hamilton’s Article on 21st Century Freelance Dramaturgy in new international textbook

I am thrilled to announce the publication of my article, “Freelance dramaturgs in the twenty-first century: journalists, advocates, and curators” in the ROUTLEDGE COMPANION TO DRAMATURGY (ISBN: 978-0-415-65849-2,published on July 29, 2014), edited by  Magda Romanska. My chapter is the only one on freelance dramaturgy in the book.

The article details the creation and development of Hamilton Dramaturgy’s TheatreNow!, as well as other tools I have used to utilize technology, cultural interconnectedness, and entrepreneurship to expand the role of the dramaturg in the 21st century.

It appears as the 18th chapter of the book, in the Age of Globalization section. TheatreNow’s Asia Representative Walter Byongsok Chon also contributed a chapter in the same section, entitled, “Intercultural dramaturgy: dramaturg as cultural liaison”.

The volume is available at: http://www.routledge.com/books/details/9780415658492/?utm_source=cms&utm_medium=url&utm_campaign=SBU4_SJC_3RF_8cm_9PER_00000_HBK

THE ROUTLEDGE COMPANION TO DRAMATURGY Edited by Magda Romanska

 

 

 

 

 



BRIDGE TO BARAKA ON STAGE

Congratulations to Season One Guest Yvette Heyliger, who continues to perform her one woman show BRIDGE TO BARAKA. Catch her in NY or LA. Yvette completed an MFA in Playwrighting from Queens College a couple of years ago, and has returned to the stage as well as continuing as an active producer.

Yvette Heyliger on stage

1 More Show in NY for Black History Month
1 Show in LA for Women’s History Month

Playwright/actor Yvette Heyliger is pleased to announce that during Back History Month she will be performing 30 minutes of her solo show, Bridge to Baraka, directed by Mario Giacalone in John Chatterton’s Midwinter Madness Short Play Festival. The remaining show is on Sunday, February 24th @ 4:15pm, Roy Arias Theatre, 300 West 43rd Street # 402 (at 8th Avenue). Tickets are $13.00. Click here to purchase your tickets today! A Talk back with the playwright following the show can be arranged upon request

Emboldened by the 1960’s Black Arts Movement, Yvette X stakes her claim as a female dramatist coming of age during the ongoing fight for parity in the American Theatre. Bridge to Baraka is Yvette’s first one-woman show and marks her return to performing since appearing on the NBC hit, Cosby Show. Martin Denton, nytheatre.com critic, said, “Heyliger has clearly carved out a successful life for herself since then as actor and then playwright/activist (she’s a notable campaigner for parity for women playwrights on the American stage).”

During Women’s History Month, Yvette is pleased to announce that she will be heading to the West Coast to perform Bridge to Baraka in the Los Angeles Women’s Theatre Festival. The show will be at the Renberg Theater on Friday, March 22nd @ 8pm. For tickets and information visit http://www.lawtf.org.

Photo by Miriam Berkley



Valentina Fratti Directs R.U.R.

Congratulations to Season One guest Valentina Fratti, who will direct a production of the classic play R.U.R. on Theatre Row in January.

Resonance Theatre Ensemble presents:

R.U.R.
By Karel Čapek
Adapted By Lee Eric Shackleford
Directed By Valentina Fratti

January 9-30, 2012
http://www.resonanceensemble.org/season.htm

Featuring Kevin Bernard*, Mac Brydon*, Christine Bullen*, Tyler Caffall, Chris Ceraso*, Matt W. Cody*, Jane Cortney*, Charlotte Hampden*, Meg Heus, Brad Makarowski*, Sean Philips*, Corey Tazmania*, James Ware

Karel Čapek’s classic R.U.R. originated the word “robot,” and for nearly a hundred years, the play has been considered a classic, translated into every major language on the face of the planet. The plot is centered on a factory that makes artificial beings used in the service of humans. While at first these “robots” seem content with their function as domestic servants, a hostile rebellion soon arises that threatens the very existence of the human race. Lee Eric Shackleford’s adaptation brings the play’s characters, language, and themes into a modern vernacular while remaining as faithful as possible to Čapek’s intentions and vision.

*Appearing Courtesy of Actors’ Equity Association
An Equity Approved Showcase

Theatre Row – The Beckett Theatre
410 West 42nd Street
New York NY



Likeminded Theatremakers

I received this wonderful email from T. Scott Wooten. It’s great to find likeminded theatremakers.

Dear Ann Hamilton,

First off, as a Theatre Worker i confess to being constantly remiss in reading American Theatre Magazine as soon as i receive it. Now finally reading the October ’12 issue, i came across the article showcasing your wonderful Podcast Show. Though i haven’t heard of or listened to your show previously, i am intrigued to do so.

The article compelled me to find your email address and write you. i am a 31 year old man who has worked in the theatre professionally and followed trends for the last ten years & it is my opinion that we must be creating new opportunities/jobs for Women in the Theatre.

it has long been an observation in my career that — for Actors — there are more Women in this business than there are roles. Also, i have observed 4 different educational settings for children (of myriad ages) to be introduced to theatre and overwhelmingly, the majority is female. Bottom line: the majority of the current/next generation of Theatre Workers WILL be Women.

For my part, i will, as a some-time playwright, create more roles for Women and i will spread this word to as many colleagues as i can to urge them to do so as well. But EVERY playwright regardless of their gender should keep this in mind — Women are & will be the majority of the talent pool.

i am most likely spouting opinions you already share, but i want you to know that for myself, as a Man, i will be championing Women as the Theatre Workers of the future.

Bravo to your Podcast, and i am looking forward to listening.

Happy Thanksgiving,
tscottw

T. Scott Wooten