You can fill the applications out and submit your abstracts online, via the conference website at
As a class, we have decided that we would like to present our manifestos on the Wednesday of Finals Week (December 9th) and we would like to keep the audience relatively small (as of right now).
For my research commitment, I still wish to look at the Living Newspapers but I am not so sure how much I want to connect it to documentary theatre. I do to a certain point, but I think I’d like the bulk of my work to focus on what are living newspapers, what are their structures (and provide examples), and look at if/why they were successful in giving out their social message, maybe then connecting its successful to similar genre’s that developed in late 20th & early 21th century. I commit to researching with both primary and secondary documents, looking at books about the Living Newspaper and the artistic atmosphere of the Depression, scripts of some living newspapers, and documentation of the federal theatre project via Hallie Flanagan’s biography and the Library of Congress online archive.
Three people I would love to meet are Patsy Rodenburg, Bernadette Peters, and Heidi Moneymaker.
Patsy Rodenburg: Incredible voice coach and theatre director. Reinvented the phrase “the right to speak.” Worked with the Royal Shakespeare Company, Royal National Theatre, and the Moscow Art Theatre, to list a few. She has also worked with/coached famous actors like Ralph Fiennes, Orlando Bloom, and Ewan McGregor.
Bernadette Peters: Absolute legend of Broadway. 7 time Tony Award-winner, 4 Grammys, 9 Drama Desk Awards,I could go on. If she asked me to kill a man, I’d fucking do it.
HEIDI FUCKING MONEYMAKER: NCAA award-winning gymnast, fantastic stunt-woman and stunt combat choreographer. Choreographed fight scenes for Iron Man 2, Avengers, Captain America: The Winter Soldier, and Avengers: Age of Ultron. Scarlett Johansson’s stunt double.
I REALLY REALLY REALLY want to have a cup of tea/several shots with Heidi Moneymaker.
But realistically, I think I could try to get in contact with Patsy Rodenburg.
Patsy on performing arts: https://www.youtube.com/watch?v=L9jjhGq8pMM
Noun: A severe flood
Verb: inundate with a great quantity of something
Example: Kendall is about to subject everyone to a deluge of her work and comments on this blog.
READY SET GO
With Hedda Gabler opening next week, I decided to look for articles that deal with period pieces (particularly corsets). While I was not particularly fruitful in corsets as related to theatre (though a good deal has been written about it historically which just shows the importance of inter-disciplinary study for a student of theatre), I found this quick article called “Movement in Period Costume” by Paul D. Reinhardt in the Educational Theatre Journal. An easy read, it addresses the way for directors and actors to approach working with period costumes. I just thought it’d be interesting to post.
Anne Bogart writes, in and then, you act (NY: Routledge, 2007):
At Columbia University … during the first year of training we insist that the directors cast, design, and stage two full productions per week with very little technical support.
Let that description sink in.
Usually, by the third week the directors feel drained and desperate. Their customary menagerie of director tricks is, by now, used up. Under the pressure of the intense schedule and the inherent difficulties and obstacles of putting up work in such an environment, the directors finally buckle down and start to work in the present moment, responding with the necessary courage to the task at hand, using whatever wit, muscles, courage, and skill they can conjure. They learn to slow down inside and to make room for innovation inside of a very finite objective time pressure (139).
In what capacities or arenas have you learned to accept the pressure of the present moment as a means to transform your relationship to the work, rather than an obstacle to its completion or success?