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SEGAL TALKS: Week 19 Artist Lineup

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September 22, 2020
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Click Here to Watch Previous Segal Talks

The Martin E. Segal Theatre Center Announces


Daily Live Online Conversations on US and Global Theatre & Performance
 Wednesday, September 23, 2020 – Friday, September 25, 2020, 12 noon EDT

“New Times need new Forms of Theatre.” Bertolt Brecht

The Martin E. Segal Theatre Center is proud to announce the new line-up of its new global series, SEGAL TALKS. Since the beginning of March the series featured close to 100 talks with 150 artists from 50 countries. New York, US, and international theatre artists, curators, researchers, and academics will talk daily during the week for one hour with Segal Center’s director, Frank Hentschker, about life and art in the Time of Corona and speak about challenges, sorrows, and hopes for the new Weltzustand— the State of the World. After a break in August the series will now also focus on Theatre, Performance and The Political, highlighting the Segal Center’s 2022 New York International Festival of the Arts Project and the Center’s Public Park Project. The Segal Center is the only theatre institution in NYC and the US creating new, original, daily content for the global field of theater and performance. The series was conceived, created and curated by Frank Hentschker in March 2020.

SEGAL TALKS are free, open access, without ads will be live-streamed in English from Monday to Friday on HowlRound Theatre Commons and on the Segal Center Facebook . This program is presented in collaboration with HowlRound Theatre Commons, based at Emerson College. All SEGAL TALKS are archived on HowlRound, and on the Segal Center YouTube Channel.

 The work of the Segal Center has been supported in the past by Susan and Jack Rudin(†), the Hearst Foundation and currently by, Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.


Send us your questions during the live streaming at SegalTalks@gmail.com.
Contact mest@gc.cuny.edu for more information on SEGAL TALKS.
Contact Frank Hentschker at fhentschker@gc.cuny.edu for press information.

Follow us @segalcenter on FacebookInstagram or Twitter 


12 noon EDT

Marvin Carlson
Join us for a conversation about Carlson’s latest book project: Memories of the Theatre Before the Plague

 Marvin Carlson is the Sidney E. Cohn Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies. He has taught Arabic Theatre at the Graduate Center of The City University of New York. His research and teaching interests include dramatic theory and Western Europe- an theatre history and dramatic literature, especially of the 18th, 19th, and 20th centuries. He is the founding editor of the Segal Center’s free and open online journals http://www.ArabStasge.org and http://www.EuropeanStages.org. His best-known book, Theories of the Theatre (Cornell University Press, 1993), has been translated into seven languages. His 2001 book, The Haunted Stage (University of Michigan Press )won the Callaway Prize. Other publications Hamlet’s Shattered Mirror: Theatre and the Real (Michigan, 2016), Ten Thousand Nights: Highlights from 50 Years of Theatre-Going (Ten Thousand Nights: Highlights from 50 Years of Theatre-Going, (Michigan, 2017). He is currently working on Memories of the Theatre Before the Plague, a sequel to Ten Thousand Nights.

12 noon EDT

Andras Forgach, Hanna Milovits, Laszlo Upor
Join us for an update on the desperate situation for theatre artists in Budapest after the Hungarian government shut down the current model of University of Theater and Film Arts (SZFE) while imposing privatization.

 Andras Forgach
Born 1952, Professor at the University of Theatre and Film, Budapest, author, playwright, essayist, illustrator, scriptwriter. Published several books and four novels in Hungary, Who isn’t (1999),Zehuze (2007), I was Twelve Women (2013), No Live Files Remain/ The Acts of my Mother (2015), published in 19 languages, about the secret service past of his parents. Besides these novels he published three essay-books about literature, theatre and film. His first play The Player, after Dostoyevski’s novel was presented at the Katona József Színház, in 1985. He wrote many adaptations of classical and newer authors (Flaubert, Garcia Marquez, Hamsun, Danilo Kis), and several original plays, among them Vitellius and The Key, which won prizes and were also translated into several languages. In the last years, he directed his own play, The Boy in Oradea/Nagyvárad, (2013), and his very last play, The End is Close, after the motives of Péter Nádas’ book, Parallel Stories was premiered (also in his own direction) in January of 2014 in Budapest in the Rózsavölgyi Szalon. He translated the plays of Kleist, Beaumarchais, Genet, Wedekind, Ödön von Horvath, Marlowe, Pinter, and many others.

 Hanna Milovits is a student of the University of Theatre and Film Arts Budapest as a Drama Instruction major. In her Bachelor Program they use the methodology of applied theater, theater in education, drama pedagogy, theater pedagogy with special focus on community arts and theater. Since 2019, she’s also been the vice president of the Student Union. She works as an intern at Káva Drama / Theatre in Education Association. Previously, she attended the Nemes-Nagy Ágnes acting school for 2 years before being admitted to the university.

 Laszlo Upor (b 1957) is a Hungarian dramaturg, literary translator, essayist and university teacher. Laszlo is specialised, mostly, in contemporary drama and performing arts. As a dramaturg, he has worked with most of the leading mainstream companies but also with several independent artists, physical and puppet theatres in Hungary. His translations include novels, non-fiction and over 50 stage plays. He has published two books and numerous articles on theatre, film and contemporary circus. A full professor, Laszlo is Vice Rector at University of Theatre and Film Arts, Budapest. Since March 2019 he has served as Acting Rector.

12:15pm EDT

Dima Mikhayel Matta & Sahar Assaf
Join us for an update on the situation for theatre artists in Lebanon after the disaster.

 Dima Mikhayel Matta is a writer, actress, and university lecturer in English and Creative Writing. As a Fulbright scholar, she received her MFA in Creative Writing from Rutgers University in 2013. In 2014, she founded Cliffhangers, the first bilingual storytelling platform in Beirut. Her first play This is not a memorized script, this is a well-rehearsed story toured as a work in progress at the Shubbak Festival, NYU, and the Outburst Festival. It premiered in Beirut in February 2020. She is currently working on her second play.

 Sahar Assaf is a theatre-maker based in Beirut. She is an Assistant Professor of Theatre at the American University of Beirut, where she recently co-established the AUB Theatre Initiative. She has been active in the Lebanese theater scene since 2003. Her recent credits as a director include: Garcia-Lorca’s Blood Wedding as a site-specific promenade performance, Shakespeare’s King Lear, Meen El Felten, a documentary play on rape and sexual assault in Lebanon as part of Abaad Mena campaign of 2018 and No Demand No Supply, a documentary play about sex trafficking in Lebanon in collaboration with Kafa NGO and Ab: Beit Byout (an adaptation of Tracy Letts’ August Osage County). Sahar is a member of Lincoln Center Director’s Lab in NYC (2014), a member of Director’s Lab North in Toronto (2017), co-founder and artistic director of Directors Lab Mediterranean (2019) and a Fulbright alumnus with an MA in Theatre Studies from Central Washington University (2011).


Click Here for Week 18 Participants: Jacques Rancière (France); Morgan Jenness (NYC); Helly Minarti (Indonesia); Dima Mikhayel Matta & Yara Bou Nassar (Lebanon); Richard Schechner(NYC)

Click Here for Week 15 Participants: Karishma Bhagani, Anne Moraa & Sitawa Namwalie (Kenya); Émilie Monnet & Greg Hill (Canada); Satoko Ichihara (Japan); Niegel Smith (NYC); Jean-Claude van Itallie (US)

Click Here for Week 14 Participants: Kemi Ilesanmi & Ebony Noelle Golden (NYC); Gianina Cărbunariu (Romania) & Jeton Neziraj (Kosovo); Frédérique Aït-Touati (France); Iman Aoun (Palestine); Evoné Walters (Jamaica)

Click Here for Week 13 Participants: Muriel Miguel & Gloria Miguel (US); Daniely Francisque (Martinique); Eugenio Barba (Italy); Paul Pryce (NYC); Liwaa Yazji (Syria)

Click Here for Week 12 Participants: Peter Schumann (US); Govin Ruben & Terence Conrad (Malaysia); Tania Bruguera (Cuba); Hope Azeda (Rwanda); Saman Amini (Netherlands/Iran)

Click Here for Week 11 Participants: Jonathan McCrory & Ngozi Anyanwu (NYC); James Scruggs & Tamilla Woodard (NYC); Jean-Luc Nancy(France); Awoye Timpo (NYC); Woodie King Jr. (NYC)

Click Here for Week 10 Participants: Emmanuel Demarcy-Mota (France); Ralph B. Peña (USA/NYC); Ruth Kanner, Joshua Sobol, Maya Arad Yasur (Israel); Avra Sidiropoulou (Greece); Ashley Tata (USA/NYC)

Click Here for Week 9 Participants: Kris Verdonck (Belgium); Aina Tur (Spain); Anne Bogart (New York, USA); Patricia Cornelius (Australia);Hoi Fai Wu (Hong Kong)

Click Here for Week 8  Participants: Maria Tri Sulistyani (Indonesia); Pamela Villoresi (Italy); Richard Foreman (USA); Thomas Oberender(Germany); Phillip Howze & Jordana De La Cruz(USA)

Click Here for Week 7 Participants: Ismail Mahomed (South Africa); Natalia Vorozhbit(Ukraine);Amir Nizar Zuabi & Fidaa Zaidan (Palestine); Roberta Estrela D’alva & Dione Carlos(Brazil); Edouard Elvis Bvouma & Hermine Yollo (Cameroon)

Click Here for Week 6 Participants: Andrea Tompa & Anna Lengyel (Hungary); Lola Arias (Argentina); Mihaela Drăgan & Mihaela Michailov (Romania); Zuleikha Allana (India); Stacy Klein & Stephanie Monseu (USA)

Click Here for Week 5 Participants: Rimini Protokoll’s Daniel Wetzel, Helgard Haug, & Stefan Kaegi(Germany); Guy Régis Jr (Haiti); Jalila Baccar (Tunis); Peter Sellars (USA); Oskar Eustis& Tony Torn(NYC, USA)

Click Here for Week 4 Participants: Milo Rau (Switzerland); Richard Schechner (NYC, US); Basil Jones(South Africa); Arthur Nauzyciel & Keren Ann (France); Guillermo Calderón (Chile)

Click Here for Week 3 Participants: The New BlackFest’s Keith Adkins with Dennis A. Allen II, France-Luce Benson, & Lisa Strum (NYC); Nature Theatre of Oklahoma’s Kelly Copper & Pavol Liska + The Big Dance Theatre’s Annie-B Parson & Paul Lazar (NYC); The Foundry Theatre’s Melanie Joseph with Aaron Landsman & Aurin Squire (NYC); Shahid Nadeem (Pakistan) + Abhishek Majumdar & Anurupa Roy(India); TR Warszawa’s Grzegorz Jarzynawith Agata Kołacz & Roman Pawłowski (Poland)

Click Here for Week 2 Participants: Laila Soliman, Dalia Basiouny (Egypt) + Sahar Assaf(Lebanon); Chou Tung-Yen, Kathy Hong, Wu-Kang Chen (Taiwan); Lucia Calamaro, Graziano Graziani, Valeria Orani (Italy); Meredith Monk (New York, US); Aristide Tarnagda & Safoura Kaboré (Burkina Faso)

Click Here for Week 1 Participants: Taylor Mac & Kristin Marting (New York, US); Mok Chiu Yu(Hong Kong) + Hanchen Feng, Shuyi Liao(China); Thomas Ostermeier (Germany); Teatro delle Albe’s Marco Martinelli, Ermanna Montanari (Italy); Toshiki Okada (Japan)


Originally founded in 1979 as the Center for Advanced Studies in Theatre Arts (CASTA), The Martin E. Segal Theatre Center was renamed in March of 1999 to recognize Martin E. Segal, one of New York City’s outstanding leaders of the arts. The Segal Center curates over thirty events throughout the Spring and Fall academic seasons, all free and open to the public. Dedicated to bridging the gap between the professional and academic theatre communities, the Segal Center presents readings, performance, lectures, and artists and academics in conversation. In addition, the Segal Center presents three annual festivals (PRELUDEPEN World Voices: International Pay Festival, and The Segal Center Film Festival on Theatre and Performance) and publishes and maintains three open access online journals (Arab StagesEuropean Stages, and The Journal of American Drama and Theatre). The Segal Center also publishes many volumes of plays in translation and is the leading publisher of plays from the Arab world. The Martin E. Segal Theatre Center (MESTC) is a vital component of the Theatre Program’s academic culture and creating in close collaboration a research nexus, focusing on dramaturgy, new media, and global theatre. The Segal Center provides an intimate platform where both artists and theatre professionals can actively participate with audiences to advance awareness and appreciation. www.TheSegalCenter.org

Executive Director: Frank Hentschker
Next Generation Fellow: Andie Lerner

THE GRADUATE CENTER, CITY UNIVERSITY OF NEW YORK, of which the Martin E. Segal Theatre Center is an integral part, is the doctorate-granting institution of The City University of New York (CUNY). An internationally recognized center for advanced studies and a national model for public doctoral education, the school offers more than thirty doctoral programs, as well as a number of master’s programs. Many of its faculty members are among the world’s leading scholars in their respective fields, and its alumni hold major positions in industry and government, as well as in academia. The Graduate Center is also home to twenty-eight interdisciplinary research centers and institutes focused on areas of compelling social, civic, cultural, and scientific concerns. Located in a landmark Fifth Avenue building, The Graduate Center has become a vital part of New York City’s intellectual and cultural life with its extensive array of public lectures, exhibitions, concerts, and theatrical events. www.gc.cuny.edu.

HowlRound Theatre Commons at www.HowlRound.com is a free and open platform for theatre makers worldwide that amplifies progressive, disruptive ideas about the art form and facilitates connection between diverse practitioners. HowlRound envisions a theatre field where resources and power are shared equitably in all directions, contributing to a more just and sustainable world. HowlRound was founded on an organizing principle in the “commons”—a social structure that invites open participation around shared values. HowlRound is a knowledge commons that encourages freely sharing intellectual and artistic resources and expertise. It is our strong belief that the power of live theatre connects us across difference, puts us in proximity of one another, and strengthens our tether to our commonalities. HowlRound is based at Emerson College, Boston. http://www.howlround.com

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