Back to Top Article References Authors Keep Reading < Back Arab Stages 19 Spring 2026 Volume Visit Journal Homepage Book Review: Samer Al-Saber. A Movement’s Promise: The Making of Contemporary Palestinian Theatre (Stanford University Press, 2025). Pp. 328. Hardcover, Paperback, E-book. By Hadia Mousa Published: May 11, 2026 Download Article as PDF Arab Stages ISSN: 2376-1148 Vol. 19 (Spring 2026), pp. 66-68 To preserve a certain memory and keep it alive, it's important to tell its story. This is what Samer Al-Saber accomplishes in his significant book, A Movement's Promise . He begins in a humorous tone to define the word "movement," aiming to avoid misunderstandings associated with its usual violent political connotations. After establishing this concept, Al-Saber provides justification for his selection of theatrical groups by detailing their histories. Focusing his research on Jerusalem and Ramallah, Al-Saber encountered difficulties in finding sufficient information about older groups. The challenges stem from the Nakba (the disaster) of Israel’s occupation and its consequences from 1948 to 1967. As a result, the author chooses to start his meticulous archival and ethnographic research from the year 1967, since the Palestinian theatrical movement was largely absent before this time. In the first two chapters, Al-Saber uses anecdotes and stories from artists to historicize the cultural Palestinian landscape and the political context from which the theatrical movement emerged after 1948. The early groups, which were short-lived, primarily targeted a Christian audience. One example is the Jerusalem Players Group, whose productions were mainly in English, although there was one performance of Eugene O'Neill in Arabic. In chapter 3, covering the years from 1970 to 1973, Al-Saber notes George Ibrahim’s background as an actor in Israeli radio and television. Ibrahim also started his own group, The Theatrical Artistic Group, in the early 1970s, later operating it under ensemble names such as Masrah Al-Shoke (Thorns Theatre, 1984), Masrah Al-Warsheh Al-Faniyyeh (the Arts Workshop Theatre, 1986), and eventually Al-Kasaba Theatre (the Market Place Theatre, 1989 – present), primarily targeting children and young audiences. Balalin (The Balloons) emerged at this time as well, under the leadership of François Abu Salem. Balalin became one of the most popular theatre organizations. Due to the occupation, artists faced significant challenges in securing venues for theatrical and cultural events. Ibrahim and Abu Salem obtained the necessary permissions to perform in locations such as Al-Omariyyeh School but, unfortunately, many of these new groups eventually disbanded because they could not establish a stable financial position from which to produce plays. Additionally, the expanding control of Israeli military forces led to the dissolution of many Palestinian groups that had emerged during the 1970s and 1980s. Chapter 4 treats the following five years, 1973 to 1977, when several new theatre ensembles were formed, including Dababis, known for its theatre of resistance; the Palestinian Theatre Troupe (1973–1996); The Palestinian People’s Theatre (1979–1983); and Sanabel People’s Theatre (1983 to present). Each of these groups had its own unique style and attributes, but most presented realistic plays, whether comedic or tragic. They also incorporated al-dabkah, an indigenous Palestinian folkloric dance, into their productions. In 1973, several of these groups collaborated to organize the first theatrical festival in Ramallah. In addition, they established an artists' equity organization, the Association for Work and Development for the Arts, which served as an alternative to the absent Palestinian Ministry of Culture. They also published a theatrical magazine called Al-Masrah (The Theatre), which helped document their movement and fostered a critical discourse in the 1970s. However, the situation for these groups worsened, as noted by Al-Saber, who documents artists getting arrested and expelled from Palestine. One such artist, Al-Kurd, was arrested twice before being forced into exile. Reaching a pivotal moment in this tragic narrative, chapter 5 focuses on El-Hakawati ensemble, one of the most renowned groups in the history of contemporary Palestinian theatre. Al-Saber details El-Hakawati’s prolific history from 1977 to 1987 under the leadership of François Abu Salem, discussing the historical context, the restrictions and obstacles they faced, as well as examples of their productions and themes based on interviews with the group's artists, including their critiques of the ensemble. This methodology is applied to many other groups as well. A crucial issue that arose alongside the external challenges faced by Palestinian artists was the deep divisions among them, which led to the disappearance of most ensembles formed in the 1970s, compounded by a lack of permanent theatrical spaces. Al-Saber addresses this issue in chapter 6, covering the years from 1981 to 1984. During this period, El-Hakawati experienced its golden era, successfully transforming a burnt cinema into a stable theatre space. With financial support from Europe and the United States, this building became a national cultural center, allowing Palestinian artists to take leadership of the venue and rename it the Palestinian National Theatre. One of El-Hakawati’s most significant achievements during this time was touring their productions in European countries and the United States. However, they faced new challenges, including biased reviews of their productions through an orientalist lens and the difficulties of performing in front of diverse audiences from various nationalities and backgrounds. Al-Saber returns to George Ibrahim in chapter 7, which focuses on the years from 1984 to 1986, and documents the various groups Ibrahim founded, including Masrah Al-Shoke, Firqat Al-Funoun El-Masrahiyyah, and, finally, Al-Kasaba Troupe. Unfortunately, during the Intifada from 1987 to 1990, the events unfolding in the streets had a profound impact on all theatrical groups. El-Hakawati, in particular, experienced significant internal conflict. It's noteworthy to mention two other groups as well: Sanabel and El-Warsheh El-Fanniyeh, whose further development is chronicled in chapter 8. Besides the well-known companies, there were also smaller groups that struggled consistently to achieve financial stability and to secure rehearsal and performance space. Finally, in chapter 9, Al-Saber compares the declining prominence of El-Hakawati Theatre with the rising success of Al-Kasaba Theatre, which Ibrahim founded in Jerusalem during the Intifada period. Al-Kasaba featured a co-production between Palestinian and Israeli artists of Romeo and Juliet , presented as a reflection of the Oslo Peace Accords. The challenges faced by the production led Ibrahim to remark, "Peace was just on paper and doesn’t exist in our reality," a sentiment supported by the events that followed in the years after the early 1990s up to the present day. In its conclusion, this book briefly mentions the emergent groups and theatre directors of the last twenty-five years. A comprehensive discussion about them would require another book. Al-Saber’s primary objective is to present information about the founding generations of Palestinian theatre, which is particularly significant given the limited number of publications on Palestinian theatre, in English or Arabic. He has succeeded in documenting and analyzing the productions of this earlier movement within its economic and political context, which is an ambitious goal given the considerable task of translating excerpts from journal reviews and conducting ethnographic research. Indeed, Al-Saber situates the Palestinian theatrical movement as authentic and impactful in this important work. Revised 20 August 2026. Article Bibliography, References & Endnotes References About The Author(s) Hadia Mousa is an Egyptian Associate Professor of Performance Studies in the Faculty of Arts, Theatre Department, Acting and Directing Branch, at Capital University, Cairo, Egypt. She was a visiting scholar at NYU and CUNY from 2012 to 2013. In 2019, Mousa published her first book, Egyptian Women Directors from 1990 to 2010 (The Arab Theatre Institute). She has contributed to numerous publications including the Arab Stages online journal (United States); International Centre for Performance Studies Publications (Morocco); Sharjah, Arabic and Egyptian theatre magazines; and with the publisher Routledge. Arab Stages Arab Stages is devoted to broadening international awareness and understanding of the theatre and performance cultures of the Arab-Islamic world and of its diaspora. The journal appears twice yearly in digital form by the Martin E. Segal Theatre Center of New York and is a joint project of that Center and of the Arabic Theatre Working Group of the International Federation for Theatre Research. Visit Journal Homepage Table of Contents Reframing the Past: Situating Mesopotamian Theatrical Traditions Within a Cross‑Cultural Performance Continuum Gen Z Theatre from Turkey Taps into Repertoires of Millennial Resistance: A Comparison of the Short Festival Plays 'Helezoni' and 'Orange' Performance Review: THE CLOWN, by Mariam Basha. Directed by Kamal El Basha. El Hakawati Theatre, Jerusalem. August 28, 2025 in person, September 11, 2025 via WhatsApp video. Performance Review: DODI AND DIANA, by Kareem Fahmy. Directed by Reginald L. Douglas. Mosaic Theater, DC. September 23, 2025. Performance Review: ALMONDS BLOSSOM IN DEIR YASSIN, by Hanna Eady. Directed by Hanna Eady. Cherry Street Village, Seattle. October 25, 2025. Book Review: Samer Al-Saber. A Movement’s Promise: The Making of Contemporary Palestinian Theatre (Stanford University Press, 2025). Pp. 328. Hardcover, Paperback, E-book. Previous Next Attribution: Entries under this journal are licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Published by the Martin E. Segal Theater Center at the Graduate Center CUNY, supported by American Theater Drama Society. Back to Top Untitled Copy of Untitled Keep Reading < Back Journal of American Drama & Theatre Volume 32 Visit Journal Homepage Issue 1 Worldmaking: Race, Performance, and the Work of Creativity Donatella Galella BOOK REVIEW Black Movements: Performance and Cultural Politics Eleanor Russell BOOK REVIEW Law and Sexuality in Tennessee Williams’s America Susan C. W. Abbotson BOOK REVIEW Stolen Time: Black Fad Performance and the Calypso Craze Isaiah Matthew Wooden BOOK REVIEW Staging Family: Domestic Deceptions of Mid-Nineteenth Century American Actresses Shauna Vey BOOK REVIEW Excavating American Theatrical History: Branden Jacobs-Jenkins’s Neighbors, Appropriate, and An Octoroon Verna A. Foster ARTICLE Mabou Mines Tries Again: Past, Present, and the Purgatory of Performance Space Jessica Brater ARTICLE Rehearsing Bereavement with Laughter: Grief, Humor, and Estrangement Affect in Sarah Ruhl’s Plays of Mourning Seokhun Choi ARTICLE Issue 2 Theatre, Performance and Cognition: Languages, Bodies and Ecologies Collin Vorbeck BOOK REVIEW The Drama and Theatre of Sarah Ruhl John Bray BOOK REVIEW A Player and a Gentleman: The Diary of Harry Watkins, Nineteenth-Century US American Actor Amy B. Huang BOOK REVIEW The History and Theory of Environmental Scenography Michael Valdez BOOK REVIEW Introduction: Local Acts: Performing Communities, Performing Americas Jocelyn L. Buckner INTRODUCTION The Architecture of Local Performance: Stages of the Taliesin Fellowship Claudia Wilsch Case ARTICLE “La conjura de Xinum” and Language Revitalization: Understanding Maya Agency through Theatre Sarah Alice Campbell ARTICLE Exploring the History and Implications of Toxicity through St. Louis: Performance Artist Allana Ross and the “Toxic Mound Tours” Rachel E. Bauer and Kristen M. Kalz ARTICLE Finding Home in the World Stage: Critical Creative Citizenship and the 13th South Asian Theatre Festival 2018 Arnab Banerji ARTICLE Journal of American Drama & Theatre JADT publishes thoughtful and innovative articles and reviews on theatre, drama, and performance in the Americas – past and present. Please refer to our Style Guide for submission information and general formatting guidelines. Send all general queries to the editors at jadtjournal@gmail.com . Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage

JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Published by the Martin E. Segal Theater Center at the Graduate Center CUNY, supported by American Theater Drama Society. Back to Top Untitled Copy of Untitled Keep Reading < Back Journal of American Drama & Theatre Volume 34 Visit Journal Homepage Issue 1 Performance and the Disney Theme Park Experience: The Tourist as Actor. Jennifer A. Kokai and Tom Robson, eds. Cham, Switzerland: Palgrave Macmillan, 2019; Pp. 292. Hui Peng BOOK REVIEW The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected. Edwin Wong. Victoria, Canada: Friesen Press, 2019; Pp. 363. David Pellegrini BOOK REVIEW Susan Glaspell’s Poetics and Politics of Rebellion. Emeline Jouve. Iowa City, University of Iowa Press, 2017; Pp. 258. Jennifer-Scott Mobley BOOK REVIEW Radical Vision: A Biography of Lorraine Hansberry. Soyica Diggs Colbert. New Haven: Yale, 2021; Pp. 273. Kristyl D. Tift BOOK REVIEW The Mysterious Murder of Mrs. Shakespeare: Transgressive Performance in Nineteenth-Century New York Mia Levenson and Heather S. Nathans ARTICLE “What Will Be Changed?”: Maxwell Anderson and the Literary Legacy of Sacco and Vanzetti Dan Colson ARTICLE Theatre of Isolation Madeline Pages ARTICLE “A Certain Man Had Two [Kids]”: Tragic Parables, “The Prodigal Son,” and Edward Albee's The Goat Michael Y. Bennett ARTICLE “Who Lives, Who Dies, Who Tells [Her] Story”: An Intersectional Analysis of the Women of Hamilton Leticia L. Ridley ARTICLE Issue 2 Embodied Reckonings: “Comfort Women,” Performance and Transpacific Redress Devika Ranjan BOOK REVIEW The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness Craig Quintero BOOK REVIEW Love Dances: Loss and Mourning in Intercultural Collaboration grace shinhae jun BOOK REVIEW Introduction to Asian American Dramaturgies Donatella Galella INTRODUCTION Behind the Scenes of Asian American Theatre and Performance Studies Donatella Galella, Dorinne Kondo, Esther Kim Lee, Josephine Lee, Sean Metzger, and Karen Shimakawa INTERVIEW On Young Jean Lee in Young Jean Lee's We're Gonna Die by Christine Mok Christine Mok ARTICLE Representation from Cambodia to America: Musical Dramaturgies in Lauren Yee’s Cambodian Rock Band Jennifer Goodlander ARTICLE The Dramaturgical Sensibility of Lauren Yee’s The Great Leap and Cambodian Rock Band Kristin Leahey with Joseph Ngo ARTICLE Holding up a Lens to the Consortium of Asian American Theaters and Artists: A Photo Essay Roger Tang ARTICLE Theatre in Hawaiʻi: An “Illumination of the Fault Lines” of Asian American Theatre Jenna Gerdsen ARTICLE Randall Duk Kim: A Sojourn in the Embodiment of Words Baron Kelly INTERVIEW Reappropriation, Reparative Creativity, and Feeling Yellow in Generic Ensemble Company’s The Mikado: Reclaimed kt shorb ARTICLE Dance Planets Al Evangelista ARTICLE Dramaturgy of Deprivation (없다): An Invitation to Re-Imagine Ways We Depict Asian American and Adopted Narratives of Trauma Amy Mihyang Ginther ARTICLE Clubhouse: Stories of Empowered Uncanny Anomalies Bindi Kang ARTICLE Off-Yellow Time vs Off-White Space: Activist Asian American Dramaturgy in Higher Education Daphne P. Lei ARTICLE Asian American Dramaturgies in the Classroom: A Reflection Ariel Nereson ARTICLE Journal of American Drama & Theatre JADT publishes thoughtful and innovative articles and reviews on theatre, drama, and performance in the Americas – past and present. Please refer to our Style Guide for submission information and general formatting guidelines. Send all general queries to the editors at jadtjournal@gmail.com . Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage

This piece has glaciers breaking off under their own precariousness and secrets being whispered into the wind. We are seeing other sites with other sights. It is the background coming to the fore and the structure playing the lead role. Timescales intersect. It’s the big and small trying to understand each other on their own terms. PRELUDE Festival 2023 PERFORMANCE other sights/other sites Erin Landers & Movers Dance, Mime N/A, English 30 min 6:00PM EST Saturday, October 14, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All This piece has glaciers breaking off under their own precariousness and secrets being whispered into the wind. We are seeing other sites with other sights. It is the background coming to the fore and the structure playing the lead role. Timescales intersect. It’s the big and small trying to understand each other on their own terms. Content / Trigger Description: ERIN LANDERS is a Brooklyn based director, choreographer, and performer. As an artist, Erin’s goal is to open the audience's awareness to the magic present in the world around them. She imagines her pieces as dreams, extended realities, portals that give permission to imagine things differently. She has presented work at Palace of Fine Arts (San Francisco, CA), the Trust Performing Arts Center (Lancaster, PA), Alchemical Studios (New York City), ChaShaMa (New York City), the Neuberger Museum of Art (Purchase, NY), and MOtiVE (Brooklyn, NY) as part of the For the Artists! Residency Program. Website: erinlandersdance.com, Instagram: @air.in.the.land.of.water Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

An exploration of mobility, disability, & bags. PRELUDE Festival 2023 PERFORMANCE Watch Me Walk Anne Gridley Theater, Performance Art, Other English 30 minutes 6:00PM EST Thursday, October 12, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All An exploration of mobility, disability, & bags. Content / Trigger Description: Warning: I am a cripple with a gimp rising and my walk is not a character choice. Anne Gridley is a two time Obie award-winning actor, dramaturg, and artist. As a founding member of Nature Theater of Oklahoma, she has co-created and performed in critically acclaimed works including Life & Times, Poetics: A Ballet Brut, No Dice, Romeo & Juliet, and Burt Turrido. In addition to her work with Nature Theater, Gridley has performed with Jerôme Bel, Caborca, 7 Daughters of Eve, and Big Dance, served as a Dramaturg for the Wooster Group’s production Who’s Your Dada?, and taught devised theater at Bard College. Her drawings have been shown at H.A.U. Berlin, and Mass Live Arts. B.A. Bard College; M.F.A. Columbia University. Instagram @gridlock2001 Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

STANDING ON THE UNSEEN SPIRALS OF THE VORTEX embodies an intricate symphony of eras colliding. In the performance, human operators orchestrate an amalgamation of AI-generated content and analog instruments live onstage. Through the warmth of 16mm film projections, the audience witnesses AI-derived imagery of people who do not exist, engaging in acts that never happened. Under the hauntingly nostalgic hum of reel-to-reel tape players, voices that have been synthesized into existence, speak in familiar tones that are oddly reminiscent of many influential artists of the past and present. Through an equal embrace of bleeding-edge AI technology and outdated analog equipment, the performance partakes in a dialogue between the past, the present, and the specter of our future as creative beings, reminding us that even as technology advances, certain foundational truths persist across time. As the performers navigate this complex convergence in real-time, the stage becomes a canvas where eras seamlessly collide, inviting us to consider the legacy of the past, the potential of the future, and the unchanging core of creative expression that binds them together. STANDING ON THE UNSEEN SPIRALS OF THE VORTEX is a multidimensional experience that invites us to reflect on our own place within the ever-evolving landscape of art and technology. It is a meditation on the cyclical nature of creation, the ever-receding ephemerality of all trends, and the timeless truths that endure. PRELUDE Festival 2023 PERFORMANCE STANDING ON THE UNSEEN SPIRALS OF THE VORTEX Temporary Distortion Theater, Discussion, Film, Multimedia, Music, Performance Art, Other English 20 mins 5:30PM EST Friday, October 13, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All STANDING ON THE UNSEEN SPIRALS OF THE VORTEX embodies an intricate symphony of eras colliding. In the performance, human operators orchestrate an amalgamation of AI-generated content and analog instruments live onstage. Through the warmth of 16mm film projections, the audience witnesses AI-derived imagery of people who do not exist, engaging in acts that never happened. Under the hauntingly nostalgic hum of reel-to-reel tape players, voices that have been synthesized into existence, speak in familiar tones that are oddly reminiscent of many influential artists of the past and present. Through an equal embrace of bleeding-edge AI technology and outdated analog equipment, the performance partakes in a dialogue between the past, the present, and the specter of our future as creative beings, reminding us that even as technology advances, certain foundational truths persist across time. As the performers navigate this complex convergence in real-time, the stage becomes a canvas where eras seamlessly collide, inviting us to consider the legacy of the past, the potential of the future, and the unchanging core of creative expression that binds them together. STANDING ON THE UNSEEN SPIRALS OF THE VORTEX is a multidimensional experience that invites us to reflect on our own place within the ever-evolving landscape of art and technology. It is a meditation on the cyclical nature of creation, the ever-receding ephemerality of all trends, and the timeless truths that endure. This work is made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature and is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Content / Trigger Description: Named one of the “Best New York Theater companies” by TimeOut NY Magazine, Temporary Distortion continually work across disciplines to create performances, installations, films, albums, and works for the stage that have been shown in over 25 cities in Australia, Austria, Canada, the Czech Republic, France, Greece, Hungary, Japan, Russia, South Korea, Switzerland, and the United States. Their work occupies the gray space between the “black box” of the theatre and the “white cube” of the art gallery, where they explore the tensions and overlaps existing between the practices of theatre, cinema, music, and media art. The company has maintained its roots in the East Village as an invested stakeholder in the local arts community for over 20 years. https://www.temporarydistortion.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

Etudes can be considered part tribunal of evidence — guided and constrained by the statutory powers of the “Interrogator” — and part ritualistic psychodynamic investigation of a sovereign polity toward emotional and restorative justice involving a collective of accused citizenry. This new multimedia performance in development by Carl Hancock Rux, with dramaturgy by Jocelyn Clarke, creates a philosophical convening of characters engaged in a recalling of crimes against humanity and its effect on their personal, historical and psychological development - as they endeavor a world of racial healing and sustainable equity as emotional justice, and a new racial healing language to help us do our emotional work. This emotional work means unlearning the language and varying rituals of whiteness - a narrative that centers white people, particularly white men, no matter the deadly cost and consequence to all women and to global Black and Brown people. PRELUDE Festival 2023 PERFORMANCE Etudes Carl Hancock Rux, Mabou Mines Theater, Multimedia, Performance Art English 20 minutes 7:30PM EST Friday, October 13, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Etudes can be considered part tribunal of evidence — guided and constrained by the statutory powers of the “Interrogator” — and part ritualistic psychodynamic investigation of a sovereign polity toward emotional and restorative justice involving a collective of accused citizenry. This new multimedia performance in development by Carl Hancock Rux, with dramaturgy by Jocelyn Clarke, creates a philosophical convening of characters engaged in a recalling of crimes against humanity and its effect on their personal, historical and psychological development - as they endeavor a world of racial healing and sustainable equity as emotional justice, and a new racial healing language to help us do our emotional work. This emotional work means unlearning the language and varying rituals of whiteness - a narrative that centers white people, particularly white men, no matter the deadly cost and consequence to all women and to global Black and Brown people. Development support for this piece has been provided by the National Endowment for the Arts and Venturous Theater Fund, a fund of Tides Foundation. Content / Trigger Description: Carl Hancock Rux (writer/performer) is an American poet, award-winning playwright, novelist, essayist, recording artist, actor, theater director, radio journalist, published author, and a frequent collaborator in the fields of film, modern dance, and contemporary art. The New York Times heralded Rux as "a breathlessly inventive multimedia artist." Rux is the author of several books including the Village Voice Literary Prize-winning collection of poetry, Pagan Operetta, the novel, Asphalt, and the Obie Award-winning play, Talk. His music has been released internationally on several labels including Sony/550, Thirsty Ear, and Giant Step. Rux is also Associate Artistic Director/Curator-in-Residence at Harlem Stage. He is the recipient of numerous awards including the Doris Duke Award for New Works, the Doris Duke Charitable Foundation, the New York Foundation for the Arts (NYFA) Prize, the Bessie Award, the Alpert Award in the Arts, and a 2019 Global Change Maker award by WeMakeChange.org. Rux is also an associate artist with Compagnia de Colombari (an experimental theater company founded by Karin Coonrod); a Multidisciplinary Editor to the Mass Review at UMass Amherst; Yale University Hayden Fellow; an Associate & Advisory Artist at the Billie Holiday Theater and an Associate Artist with Lincoln Center for the Performing Arts where, most recently, he has created several multidisciplinary works; Inaugural Performing & Associate Artist at Joe's Pub at the Joseph Papp Public Theater; a member of the New York Historic Landmarks Preservation Center; Faculty Emeritus at the California Institute of the Arts and Distinguished Faculty Member at Hollins University. Rux's archives are housed at the Billy Rose Theater Division of the New York Public Library and the Smithsonian Institution’s Archives of American Art, and the Film and Video/Theater and Dance Library of the California Institute of the Arts. Jocelyn Clarke (dramaturg) is a freelance dramaturg and writer. He is currently Theatre Adviser to the Arts Council of Ireland and dramaturg at the American Voices New Play Institute at Arena Stage in D.C. He has taught dramaturgy at the John Kennedy Centre for the Performing Arts, Columbia University and Trinity College Dublin. He was the Commissioning and Literary Manager of the Abbey Theatre for four years, and lead theatre critic with The Sunday Tribune for nine years. He is an associate artist with The Civilians in New York, and he is a member of the artistic staff of the Sundance Institute’s Theatre Lab. He has worked as a dramaturg on several productions by The Blue Raincoat Theatre in Sligo, and has written five adaptations for the company – ALICE IN WONDERLAND, ALICE THROUGH THE LOOKING GLASS, THE THIRD POLICEMAN, AT SWIM TWO BIRDS and THE POOR MOUTH. He has written six plays for Anne Bogart and the SITI Company – BOB, ALICE’S ADVENTURES UNDERGROUND, ROOM, SCORE, ANTIGONE, and TROJAN WOMEN (AFTER EURIPIDES). His productions for children and young people include an adaptation of Neil Gaiman and David McKean’s graphic novel THE DAY I SWAPPED MY DAD FOR A GOLDFISH, THE LITTLE DEER, THE CRIMSON FLY & THE SWAN CHILDREN for the Abbey Theatre in Dublin, and FINN for Mabou Mines in New York. Mabou Mines is an artist-driven experimental theater collective generating original works and re-imagined adaptations of classics. Work is created through multi-disciplinary, technologically inventive collaborations among its members and a wide world of contemporary filmmakers, composers, writers, musicians, choreographers, puppeteers and visual artists. Mabou Mines fosters the next generation of artists through mentorship and residencies. The company was born out of the influences and inspirations of Europe’s seminal avant-garde theater collectives. Before arriving in New York in 1970, the would-be ensemble of Mabou Mines spent five years in Europe observing and studying the working methods of the Berliner Ensemble, the politics of the exiled Living Theater and the demands of physical training with Jerzy Grotowski. Since that time, Mabou Mines has created more than 120 works, including “The Lost Ones,” “Mabou Mines Lear, “ “Peter and Wendy,” “Mabou Mines DollHouse,” and “La Divina Caricatura” and “Lucia’s Chapters,” and has been honored with more than 100 major awards, among them 20 OBIEs, including for General Excellence & Sustained Achievement, MacArthur Foundation “Genius” Award, France’s Chevalier Des Artes et Lettres, The Edwin Booth Award, Edinburgh’s Golden Herald Angel Awards, a Foundation for Contemporary Arts Fellowship, the Elliot Norton Award, three USA Fellowships and many, many more. The current co-Artistic Directors include Karen Kandel, Mallory Catlett, Carl Hancock Rux and Sharon Ann Fogarty. carlhancockrux.com, @carlhancockrux, maboumines.org, facebook.com/mabouminescompany, @maboumines Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

Join us for one of the legendary PRELUDE dance parties. At 9:30 pm the PRELUDE FRANKIE AWARDS will be given to a group of theatre artists and artistic directors who have made a difference and changed the landscape of New York City Theatre and performance. Theresa Buchheister will receive the PRELUDE’23 Award on Thursday, the 19th, at the Segal Center following their work: VISA — Mon Amour. PRELUDE Festival 2023 CELEBRATION PRELUDE Party Everyone Other 9:00PM EST Saturday, October 14, 2023 The Tank, West 36th Street, NYC, NY, USA RSVP Join us for one of the legendary PRELUDE dance parties. At 9:30 pm the PRELUDE FRANKIE AWARDS will be given to a group of theatre artists and artistic directors who have made a difference and changed the landscape of New York City Theatre and performance. Theresa Buchheister will receive the PRELUDE’23 Award on Thursday, the 19th, at the Segal Center following their work: VISA — Mon Amour. Content / Trigger Description: Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

David Levine invites Matthew Gasda, author of "Dimes Square" and director of the Brooklyn Center for Theater Research, to discuss what's under the radar of Under the Radar. PRELUDE Festival 2023 ARTIST TALK The Other Downtown: David Levine, Matthew Gasda David Levine, Matthew Gasda Discussion English 1 hour 5:30PM EST Thursday, October 12, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All David Levine invites Matthew Gasda, author of "Dimes Square" and director of the Brooklyn Center for Theater Research, to discuss what's under the radar of Under the Radar. David Levine is an OBIE and Guggenheim-award winning theater director and visual artist. His work has been covered by Frieze, Artforum, The New York Times , and his writing has appeared in n+1, Theater , and Parkett . He is Professor of the Practice of Performance, Theater and Media at Harvard University, and the author, with Shonni Enelow, of A Discourse on Method , published by 53rd State Press. His holographic film, Dissolution , will debut at the Museum of the Moving Image in late October. He is also the author of Re-Public , a 2005 manifesto for the artistic, fiscal, and operational overhaul of the Public Theater, commissioned by the journal Theater . Content / Trigger Description: www.davidlevine.art Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

Fecund Error is a spoken word choral music-theater piece constructed according to a procedure of repeated mistranslations of an invented hieroglyphic alphabet. The play embodies a process of trying to speak and think that which is unspeakable and unthinkable. It is an invitation to deep listening, a ritual of unknowing. PRELUDE Festival 2023 PERFORMANCE Fecund Error Ashley Kelly Tata, Jerry Lieblich, Robert M. Johanson Theater, Multimedia, Opera, Music, Choral English 20 Mins + Chat 4:30PM EST Saturday, October 21, 2023 The Tank, West 36th Street, New York, NY, USA Free Entry, Open To All Fecund Error is a spoken word choral music-theater piece constructed according to a procedure of repeated mistranslations of an invented hieroglyphic alphabet. The play embodies a process of trying to speak and think that which is unspeakable and unthinkable. It is an invitation to deep listening, a ritual of unknowing. Content / Trigger Description: Language may break down. Pictures may be language. Gesture may be implemented. Ashley Kelly Tata (they/ze/she/tata) makes multi-media works of theater, contemporary opera, performance, cyberformance, live music and immersive experiences. They have been called“fervently inventive,” by Ben Brantley in the New York Times, “extraordinarily powerful” by the LA Times, like something that “reaches out across the centuries and punches you in the throat” by Alexis Soloski in the New York Times and Tata’s production of Kate Soper’s Ipsa Dixit was named a notable production of the decade by Alex Ross in The New Yorker. These works have been presented in venues and festivals throughout the US and internationally including at Theatre for a New Audience, Ars Nova, PS21, LA Opera, Austin Opera, The Miller Theater, National Sawdust, EMPAC, BPAC, The Crossing the Line Festival, the Holland Festival, The Big Ears Festival, The Big Sing Festival, The Prelude Festival, The National Centre for the Performing Arts in Beijing, and the Fisher Center’s Summerscape Festival at Bard. Tata is currently Visiting Assistant Professor of Theater & Performance and Artistic Producer of Theater & Performance at Bard College, NY. Jerry Lieblich (they/them) is the founder and lead artist of Third Ear. Their plays include D Deb Debbie Deborah (Clubbed Thumb – Critic’s Pick: NY Times, TimeOut NY), Tongue Depressor (The Public Theatre, Brooklyn College), Everything for Dawn (Experiments in Opera), Nostalgia is a Mild Form of Grief (Playwrights Horizons, Vineyard Theater), Ghost Stories (Cloud City - Critic’s Pick: TimeOut NY), Your Hair Looked Great (Abrons Arts Center), and The Barbarians (New York Theatre Workshop, Dixon Place, PRELUDE), and A Discourse on the Method… (Ensemble Studio Theatre). Their poetry has appeared Foglifter, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Jerry has held residencies at MacDowell, Mass MOCA, Blue Mountain Center, SPACE on Ryder Farm, Millay Arts, UCROSS, NACL, and the Edward F. Albee Foundation. They have received a Martha Boschen Porter Fund Fellowship, Wallis Annenberg Helix Fellowship from Yiddishkayt, EST/Sloan Commission and the Himan Brown Creative Writing Award (twice), and are an alum of the Soho Rep Writer/Director Lab, Page 73's I-73 Writer's Group, and Pipeline Theater’s Playlab group. BA: Yale, Philosophy; MFA: Brooklyn College (Mac Wellman and Erin Courtney, chief instigators). Robert M. Johanson is a freelance performer/composer/director in New York City. He is a founding member of Nature Theater of Oklahoma, and has performed with them in No Dice, Poetics: a Ballet Brut, Romeo and Juliet, No President, and composed music for and performed in their epic cycle Life and Times: Episodes 1-9, and Burt Turrido: an Opera. Robert has created and composed his own pieces in collaboration with both students and professionals including Life is Hard with Von Krahl Theater and The Loon with Witness Relocation. He has worked with many companies in New York City and abroad including: Elevator Repair Service, 7 Daughters of Eve, Radiohole, The Civilians, Jim Findlay, Morgan Green, Lithuanian National Drama Theatre, and Spreafico Eckly. He is a frequent guest teacher at the Norwegian Theatre Academy, and has given workshops and master classes at Rutgers, Columbia University and MIT. www.tatatime.live ; www.thirdear.nyc ; www.robertmjohanson.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present.  Journal of American Drama and Theatre (JADT) JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. ISSN Number: 2376-4236 Entries under this journal are licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license. Home Current Issue Archive About & Submission Guidelines Contact Past Issues Curren Issue Current Issue Volume 38 Issue 2 SPECIAL ISSUE INTRODUCTION 100 Years of Du Bois: “Principles of a Real Negro Theatre” and “Criteria of Negro Art” Khalid Y. Long and Le’Mil Eiland ARTICLE “One Great and Fine Mode of Expression”: On W. E. B. Du Bois and the Exigencies of Black Drama and Theatre Isaiah Matthew Wooden ARTICLE Reflections on Fundamental Principles Jonathan Shandell ARTICLE An Expansive “Us”: W. E. B. Du Bois’s “Pan-Negro” Theatrical Vision Kellen Hoxworth ARTICLE W. E. B. Du Bois’s Krigwa Little Negro Theatre Movement in Harlem and Beyond Kirsten Lee ARTICLE It Was All a Dream: Shifting Du Boisian Notions in Richard Wesley’s The Talented Tenth Kristyl D. Tift ARTICLE Teaching August Wilson in an Age of Democratic Decline: Du Boisian Imperatives and Black Pedagogy Across Campus and Community Omiyẹmi (Artisia) Green QUEER VOICES Debbie with a D Talks Theatre with a T Bess Rowen PERFORMANCE REVIEW The Wild Duck Alexander Miller PERFORMANCE REVIEW Picnic at Hanging Rock Bess Rowen PERFORMANCE REVIEW Last Call: A Play with Cocktails Daria Kerschenbaum PERFORMANCE REVIEW The Dinosaurs Dominic Finocchiaro BOOK REVIEW The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism. Catherine Burroughs and J. Ellen Gainor, editors. New York: Routledge, 2024; Pp. 652. Emma Futhey BOOK REVIEW Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation. Julius B. Fleming Jr. New York: New York University Press, 2022; Pp. 301. L. Bailey McDaniel BOOK REVIEW The Theatre of Paula Vogel: Practice, Pedagogy, and Influences. Lee Brewer Jones. New York: Methuen Drama, 2023; Pp. 194. Lynn Deboeck Past Issues Past Issues Volume 38 Volume 34 Volume 30 Volume 37 Volume 33 Volume 29 Volume 36 Volume 32 Volume 28 Volume 35 Volume 31 Volume 27 Curren Issue Current Issue 100 Years of Du Bois: “Principles of a Real Negro Theatre” and “Criteria of Negro Art” An Expansive “Us”: W. E. B. Du Bois’s “Pan-Negro” Theatrical Vision Teaching August Wilson in an Age of Democratic Decline: Du Boisian Imperatives and Black Pedagogy Across Campus and Community Picnic at Hanging Rock The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism. Catherine Burroughs and J. Ellen Gainor, editors. New York: Routledge, 2024; Pp. 652. “One Great and Fine Mode of Expression”: On W. E. B. Du Bois and the Exigencies of Black Drama and Theatre W. E. B. Du Bois’s Krigwa Little Negro Theatre Movement in Harlem and Beyond Debbie with a D Talks Theatre with a T Last Call: A Play with Cocktails Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation. Julius B. Fleming Jr. New York: New York University Press, 2022; Pp. 301. Reflections on Fundamental Principles It Was All a Dream: Shifting Du Boisian Notions in Richard Wesley’s The Talented Tenth The Wild Duck The Dinosaurs The Theatre of Paula Vogel: Practice, Pedagogy, and Influences. Lee Brewer Jones. New York: Methuen Drama, 2023; Pp. 194. Past Issue Archive We are in the process of moving all past journal entries to the current websiite. Please bear with us as we make this transition. You can view all the past issues at www.jadt.commons.gc.cuny.edu . For any queries or clarifications, write to us at jadtjournal@gmail.com May 26, 2026 Volume Issue 38 2 Teaching August Wilson in an Age of Democratic Decline: Du Boisian Imperatives and Black Pedagogy Across Campus and Community Omiyẹmi (Artisia) Green May 26, 2026 Volume Issue 38 2 “One Great and Fine Mode of Expression”: On W. E. B. Du Bois and the Exigencies of Black Drama and Theatre Isaiah Matthew Wooden May 26, 2026 Volume Issue 38 2 The Dinosaurs Dominic Finocchiaro May 26, 2026 Volume Issue 38 2 Last Call: A Play with Cocktails Daria Kerschenbaum May 26, 2026 Volume Issue 38 2 Picnic at Hanging Rock Bess Rowen May 26, 2026 Volume Issue 38 2 The Wild Duck Alexander Miller May 26, 2026 Volume Issue 38 2 The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism. Catherine Burroughs and J. Ellen Gainor, editors. New York: Routledge, 2024; Pp. 652. Emma Futhey May 26, 2026 Volume Issue 38 2 Reflections on Fundamental Principles Jonathan Shandell May 26, 2026 Volume Issue 38 2 It Was All a Dream: Shifting Du Boisian Notions in Richard Wesley’s The Talented Tenth Kristyl D. Tift May 26, 2026 Volume Issue 38 2 Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation. Julius B. Fleming Jr. New York: New York University Press, 2022; Pp. 301. L. Bailey McDaniel May 26, 2026 Volume Issue 38 2 W. E. B. Du Bois’s Krigwa Little Negro Theatre Movement in Harlem and Beyond Kirsten Lee May 26, 2026 Volume Issue 38 2 An Expansive “Us”: W. E. B. Du Bois’s “Pan-Negro” Theatrical Vision Kellen Hoxworth Load More Visit Old Website About & Submission Guideline About The Journal History and Mission Founded in 1989, JADT is a widely acclaimed peer-reviewed journal publishing thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas—past and present. The journal’s provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. JADT is fully online and freely accessible. Our aim is to promote research on theatre of the Americas and to encourage historical and theoretical approaches to plays, playwrights, performances, and popular theatre traditions. Studies of dramatic texts from a purely literary perspective are outside the scope of the journal. “I see American Drama and Theatre as a primary means of reflecting the excitement and progress of our language, our culture, our democracy, our social concerns and our historical roots as Americans. No better opportunity exists for understanding, or for contributing to our understanding, of our American world, past or present, than the Journal of American Drama and Theatre, as shown by the excellence of its past performance and the promise of its future.” – Walter Meserve Submission Guidelines The editors of the Journal of American Drama and Theatre (JADT) are now accepting submissions for essays on any topics relating to theatre, drama, and popular entertainments of the Americas for consideration. Please submit completed manuscripts to jadtjournal@gmail.com . We accept submission on a rolling basis. Please email the editors with any inquiries. Article manuscripts should be 5,000 to 8,000 words in length and prepared in conformity with the Chicago Manual of Style using manual endnotes. Completed manuscripts should be submitted as Microsoft Word attachments via e-mail to jadtjournal@gmail.com . Articles will be peer reviewed, so please allow 3-4 months for a decision. If you are submitting images, please provide the images and captions with your submission. (Pleas e Note: Images should be at least 300dpi and authors are responsible for securing permissions prior to submission). Please include a short bio with your submission. Performance Reviews JADT publishes performance reviews on theatre, drama, and performance in the Americas. Single reviews are usually 800 to 1,200 words in length. We encourage authors to contact the editor in advance to propose a review at jadtperformancereviews@gmail.com Boo k Reviews JADT publishes book reviews of monographs published within the last two years. This list of recommended and nominated titles for review is refreshed annually. Reviews are usually 800 to 1000 words for a single review. To propose a book review in advance, please contact the editor at jadtbookreviews@gmail.com . Click here for the complete JADT Style Guide . View Past Issues People Editorial Board Louise Geddes, Rebecca Worley Co-Editors Stephanie Lim Book Review Editor Jennifer Joan Thompson Performance Review Editor Sydney Horner, Boo Me Koo Journal Assistants Vera Mowry Roberts, Walter Meserve Founding Editors Martin E. Segal Theatre Center Marvin Carlson Director of Publications Frank Hentschker Executive Director Gaurav Singh Nijjer Digital and Web Coordinator Advisory Board Michael Y. Bennett Kevin Byrne Tracey Elaine Chessum Bill Demastes Benjamin Gillespie Stuart Hecht Jorge Huerta Amy E. Hughes David Krasner Esther Kim Lee Kim Marra Ariel Nereson Beth Osborne Bess Rowen Jordan Schildcrout Robert Vorlicky Maurya Wickstrom James F. Wilson Stacy Wolf Contact Email jadtjournal@gmail.com

Artists and organizers from Brooklyn International Performance Art Foundation (BIPAF), PERFORMANCY FORUM, and other mutualistic NYC performance communities debate tradition, change, and the ethics and politics of making work in response and relation to racial capitalism, climate collapse, and systemic eugenics. Is performance part of "immune systems" or resilience strategies? How can both artistic works and modes of production practice response-ability? The panel features Arantxa Araujo, Ayana Evans, Hector Canonge, Lital Dotan, and zavé martohardjono, and is moderated by Esther Neff. PRELUDE Festival 2023 PANEL Performing Response-Ability Esther Neff with others 6:00PM EST Monday, October 16, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Artists and organizers from mutualistic NY performance art communities, including PERFORMANCY FORUM, debate tradition, change, and the ethics and politics of making work in response and relation to racial capitalism, climate collapse, and systemic eugenics. There will be short performances followed by discussion. Is performance part of "immune systems" or resilience strategies? How can both artistic works and modes of production practice response-ability? Featuring Arantxa Araujo, zavé martohardjono, Hector Canonge, Ayana Evans, and Lital Dotan. Organized by Esther Neff. Content / Trigger Description: Esther Neff (organizer) is the founder of PPL (est. 2006), a thinktank, performance collective, and organizational entity. They are the organizer of PERFORMANCY FORUM (est. 2009), a platform for performance art and social arts practices that has involved hundreds of artists from all over the world in conferences, thinktanks, projects, and exhibitions. PPL's 7-year project as a physical lab site in Brooklyn culminated in the book Institution is a Verb (Operating System 2021, Edited with Elizabeth Lamb, Ayana Evans, and Tsedaye Makonnen). Neff/PPL's project Embarrassed of the (W)Hole, an operating manual for performance philosophy, was recently published by Ugly Duckling Presse and their theoretical and critical writing has been including in the Routledge Companion to Performance Philosophy (with Yelena Gluzman), The Palgrave Macmillan Handbook of Queer and Trans Feminist Performance Art, and in PAJ, Performance Paradigm, CONTENT, AM Journal of Art and Media Studies, on cultbytes, culturebot, and elsewhere online and in print. Their solo and collaborative operas, performance art works, and other performance projects have been realized in NYC, across the USA, and various sites around the world. Neff is currently a PhD student at the CUNY Graduate Center in Theatre and Performance and teaches at Hunter College. Arantxa Araujo is a Queer Mexican performance artist with a background in neuroscience and arts administrator. Her work is transdisciplinary, feminist, meditative and rooted in bio-behavioral research. Through multisensorial experiences, Araujo aims to catalyze awareness which then might result in a virtuous chain reaction for social justice and personal growth. Her work has been shown in the Brooklyn Museum, at the Radical Women Latin American Art Exhibit, Leslie-Lohman Museum, Grace Exhibition Space, The Queens Museum (NYC); RAW and Satellite Art Fair (Miami); Illuminus Festival (Boston), and SPACE Gallery (Pittsburgh); ExTeresaArte Actual Museum, and La Explanada del MUAC (Mexico); and Nuit Blanche Festival (Canada). Araujo is a Franklin Furnace Fund awardee, Brooklyn Arts Council and Lower Manhattan Cultural Council grantee and has received support through numerous residencies and fellowships including Leslie-Lohman Museum Artist Fellowship, Creative Capital taller, ITP Camp and EMERGENYC. Araujo was awarded a full scholarship from Mexican Government Institution CONACYT. She holds an MA in Motor Learning and Control from Teachers College, Columbia University and a BA in Theater Studies from Emerson College. zavé martohardjono is a queer, trans, Indonesian-American artist working in performance, dance, installation, video, and poetry. Dwelling in their ancestors’ mythologies, with dreams of a more just future, they make work that contends with the political histories our bodies carry. zavé’s work is concerned with and prompted by inquiry into whether and how embodied healing, anti-colonial storytelling, and political education can de-condition the body, reconjure liberatory memory, and untangle entrenched assimilation. zavé’s dance improvisations, experimental works, multimedia works and writing address and subvert political histories. zavé has been presented at the 92Y, BAAD!, Bronx Museum of the Arts, Center for Performance Research, El Museo del Barrio, HERE Arts, Issue Project Room, The Kennedy Center, Storm King Art Center, the Wild Project, Bemis Center for Contemporary Arts, Boston Center for the Arts, Tufts University, and elsewhere in the U.S. Internationally, they have shown films and performed in Amsterdam, Berlin, Glasgow, Zurich, Skopje, and Jakarta. They were a 2022 MRX/Movement Research Exchange program artist in Skopje, Macedonia, 2021 NYPL Dance Research Fellow, 2020 Gibney Dance in Process artist, 2019 Movement Research AIR, 2017-2018 LMCC Workspace Resident, and a 2011 EMERGENYC artist. Their work has been written about in BOMB Magazine, Brooklyn Rail, Culturebot, Hyperallergic, and The New York Times. Hector Canonge is an American artist of Catalan and Bolivian descent. Born in Buenos Aires, Argentina, Canonge spent his childhood in Bolivia and grew up in New York City where he studied and developed his interdisciplinary practice. His projects in Conceptual Art, Social Practice, Media Arts, Performance Art, and Dance treat notions related to constructions of identity, gender roles, migration politics, and ancestral heritage. His interactive projects explore the use of commercial technologies in relation to social archetypes, while his site-specific installations repurpose discarded materials and objects from everyday use. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. Through his investigation of somatic expression, he has developed a corporeal theory for the practice of Performance Art presenting it in workshops and conferences around the world. In New York City, Canonge’s dance and performance art projects have been featured at Triskelion Arts, Green Space, Boston Center for the Arts, Movement Research at the Judson Church, La Guardia Performing Arts Center, Queens Museum, Bronx Museum of the Arts, Bronx Academy of Arts and Dance, and La Mama among others. The artist has exhibited widely in the United States, Latin America, Europe and Asia. Canonge is the founding director of the performance art festivals: ITINERANT in NYC (2010-2019t), LATITUDES in Santa Cruz de la Sierra, Bolivia (2017-present), and AUSTRAL in Buenos Aires, Argentina (2019-present). He is responsible for the initiatives: ARTerial Performance Lab (South America), TALKaCTIVE & LiVEART.US, NEXUS and IGNITION (United States), Performeando and Encuentro Latinoamericano de Performance Art Berlin (Europe), and the International Network of Performance Art, INPA. In 2020, while reflecting on the effects of the Corona pandemic, Canonge launched the virtuals program, CHRONICLES of CONFINEMENT, featuring artists from Latin America, Europe, Africa, and Asia. In 2022, Canonge launched and curated PAUSA, Performance Art USA, a new seasonal platform for live art and its various modalities of presentation. Canonge’s work has been reviewed by The New York Times, Art Forum, Art in America, Hyperallergic, Hispanic Magazine, Turbulence, Art Card Review, and New York Foundation for the Arts’ bulletin NYFA News among others. The artist is currently at work in the development of new projects and programs for the exploration and experimentation of Live Art and its various manifestations. Ayana Evans is a NYC-based performance artist. Her guerilla-style performances have been staged at El Museo del Barrio, The Barnes Foundation, The Bronx Museum, Crystal Bridges Museum, Newark Museum, Queens Museum and a variety of free public locations. Her performances have been reviewed in The New York Times, Bomb Magazine, ArtNet, Hyperallergic, and New York Magazine's The Cut. She was a 2017-2018 awardee of the Franklin Furnace Fund for performance, 2018 New York Foundation of the Arts (NYFA) Fellow for Interdisciplinary Arts, 2021-2022 Jerome Hill Artist Fellow, 2021-22 Professor of the Practice at Brown University, and 2022 Chamberlain Award winner at Headlands Art Center. Her past residencies include Yaddo, Skowhegan School of Painting & Sculpture, Vermont Studio Center, and Robert Blackburn Printmaking Workshop. Evans' most recent projects included a performance in Simone Leigh’s Loophole of Retreat at the Venice Biennale and the development of a career fair and outdoor projection series that welcomed over 150 formerly incarcerated individuals and transformed the job hunting space into a fun environment. - complete with soul food, a live DJ, and green neon t-shirts for everyone involved. Evans was also featured in or editor of the following publications: "We Are Here: Visionaries of Color Transforming the Art World," by Jasmin Hernandez with forward by Swizz Beats, 2020 - features interviews with 50 contemporary artists of color, "Institution as Verb," Edited by Elizabeth Lamb, Ayana Evans, Esther Neff and Tsedaye Makonnen, "Volume 11 Friend of the Arts" Edited by Thomas Flynn II, and "Re-Envisioning The Contemporary Art Cannon: Perspectives in a Global World" Edited by Ruth Iskin, 2017. Evans is currently a professor at Brooklyn College and NYU. Lital Dotan is a visual artist and curator. Her works include live work, video, sculpture and theater. She is the co-founder and artistic director of Glasshouse ArtLifeLab, an art-house currently based in Upstate NY. Co-founded with Eyal Perry in 2007, Glasshouse is an environment dedicated to performance in the domestic sphere, where she organizes and produces festivals, thematic exhibitions, durational performances, collaborations and residencies. In 2015 Dotan founded Que sal mah, a clothing brand that merges performance art, choreography and fashion, where clients book a one-to-one performance session culminating in a dress. Her immersive art works and performances were exhibited in museums and galleries world-wide such as the Israel Museum, National Museum Cracow, Queens Museum, Haifa Museum, Jewish Contemporary SF to name a few and was featured in magazines such as The NY Times, Hyperallergic, DNA Info, NY Mag, Paper Mag, ArtSlant, Haaretz, Huffington Post, VISION China, TAR Magazine and many more. Since early in her artistic career, she has collaborated with photographer Eyal Perry who is responsible for the photography in the majority of her work. An integration of installation, documentation and life her performance narratives examine structures and mechanisms of power across art and society; dissolving and re-imagining through harsh intimacy notions of privacy, audience, ownership, value and success. Dotan published two catalogues- The Glasshouse In Retrospective (2011) and '7 Invitations' (2014). In 2016, her essay about performance ecology in NY was published in TAR magazine, hosting artists, curators and organizers who are actively providing platforms for performance in New York. Photo credits: Building Bridges Not Walls (2018) Photo by Brandon Perdomo. Photo courtesy of Arantxa Araujo. zavé martohardjono. Photo courtesy of the artist. Hector Canonge (2023). Photo courtesy of the artist. Ayana Evans. Photo courtesy of the artist. Lital Dotan, Speaking Ice to Sheep (2023). Screenshot from videography by Eyal Perry. Esther Neff website> https://estherneff.wordpress.com/ | http://www.panoplylab.org/ - IG> @thefenserf | @panoplylab - Arantxa Araujo website> arantxaaraujo.com | IG> @ArantxaAraujo - zavé martohardjono website> https://zavemartohardjono.com/ - Hector Canonge website> www.hectorcanonge.net - Ayana Evans website> https://www.ayanaevans.com/ - Lital Dotan website> https://www.litaldotan.com/ Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

The Exponential Festival is beginning its ninth-anniversary season with an intimate evening of artist-on-artist interviews to take place Tuesday, October 17th at 7pm at Brick Aux (628 Metropolitan Ave, Brooklyn, NY 11211). Founding Artistic Director Theresa Buchheister and Producing Director Nic Adams will introduce the hour-long event, which will feature interviews with David Greenspan, Marissa Joyce Stamps, Ben Holbrook, Lena Engelstein, SB Tennent, Cameron Stuart, Sleth Larson, and Tristan Allen! Join us for an evening of retrospection, artistic conundrums, and a dispatch from the heart of the enduring contemporary performance community. Streamed live on HowlRound (info coming soon) PRELUDE Festival 2023 PANEL Exponential Festival David Greenspan, Marissa Joyce Stamps, Ben Holbrook, SB Tennent, Cameron Stuart, Sleth Larson, Tristan Allen, Lena Engelstein Discussion English 60 minutes 7:00PM EST Tuesday, October 17, 2023 Brick Aux, 628 Metropolitan Avenue, Brooklyn, NY, USA Free Entry, Open To All The Exponential Festival is beginning its ninth-anniversary season with an intimate evening of artist-on-artist interviews to take place Tuesday, October 17th at 7pm at Brick Aux (628 Metropolitan Ave, Brooklyn, NY 11211). Founding Artistic Director Theresa Buchheister and Producing Director Nic Adams will introduce the hour-long event, which will feature interviews with David Greenspan, Marissa Joyce Stamps, Ben Holbrook, Lena Engelstein, SB Tennent, Cameron Stuart, Sleth Larson, and Tristan Allen! Join us for an evening of retrospection, artistic conundrums, and a dispatch from the heart of the enduring contemporary performance community. Streamed live on HowlRound (info coming soon) Content / Trigger Description: Ben Holbrook is a Brooklyn-based (originally from NC) playwright and filmmaker whose works have been produced, developed, or commissioned by: Fundamental Theater Project, Ruddy Productions, The New York International Fringe Festival, The Memphis Fringe Festival, The Motor Company, Voices of the South (TN), Ugly Rhino(LA), Seoul Players (SK), Holiday House, Find the Light (LA), The Irish Arts Council, and Paper Lantern Theatre Company (NC). He’s been awarded the Edward Albee Foundation fellowship, the Drama League Rough Draft Residency (partnering with Sam Underwood), Fresh Ground Pepper’s Playground Playgroup Residency, The New Concepts Theatre Lab at UNC-Greensboro, Magic Time at Judson Church. He is the inaugural recipient of the Peter Shaffer Award for Excellence in Playwriting and a winner of the 47th Samuel French OOB Festival. Cameron Stuart is a writer, composer, and performer. He self-produces his performance art as No-Brow Theater Company, which was formerly known as Saints of an Unnamed Country. With several friends, Cameron opened and managed The Glove, a DIY performance space located in Bushwick. The Glove was a participating venue in the Exponential Festival, which Cameron co-produced from 2017–2022. His plays Police in the Wilderness (published by A Freedom Books) and Germany, 1933 were part of the Exponential Festival in 2017 and 2020, respectively. Other works by Cameron have been presented at diverse venues and institutions, including: MoMA's PS1, JACK, The Brick, Vital Joint, Silent Barn, Secret Project Robot, and Tomato Mouse, among others. Born in Florida, Cameron now lives in Queens, NY. David Greenspan will return to The Brick in February for the remounting of Joey Merlo’s solo play, On Set With Theda Bara - originally presented in The 2023 Exponential Festival. He has appeared in his own plays, performed solo renditions of dramatic and non-dramatic texts and worked with many contemporary playwrights. Honors include a RUTHIE and six OBIES. Lena Engelstein is a Brooklyn based choreographer and performer. Since 2021, she has co-created and performed a series of duets– the first with performance artist Magda San Millan; the second with dancer Jo Warren. She has collaborated with and performed in work by director Lisa Fagan since 2017, and is currently the assistant choreographer/performer in the interdisciplinary performance collective CHILD. Other performance credits include: Third Rail Company’s Then She Fell, Falcon Dance, Brendan Drake, and work by Barnett Cohen, Alexa West, Miguel Alejandro Castillo, and Chafin Seymour. As a movement director, Engelstein has worked with the bands Lou Tides and Pleaser, comedian Sophie Zucker, and dance artist Nora Alami. She has taught at SUNY Brockport, Bard College, The Field Center, and Colorado Mesa University. Lena holds a B.A. in Mathematics and a minor in Dance from Colorado College. Marissa Joyce Stamps is a Black, Haitian-American, NYC-based Afrosurreal artist + educator. She’s the recipient of the 2023 Princess Grace Playwriting Award, a member of Clubbed Thumb 2023-2024 Early-Career Writers’ Group, a Fall 2023 Mercury Store Lead Artist, a New Georges Affiliate Artist, and was named a Finalist for The National Black Theatre's 2023 I AM SOUL Playwrights Residency. Recent: …Twisted Juniper (2022 O’Neill Finalist), Being Up in Here… (Exponential Festival 2024; Princess Grace Award 2023; Brick Aux 2022), Blue Fire… (Exponential Festival 2022; Orchard Project 2021), Letiche… (Bushwick Starr SRS 2023), + deadbodydeadbodydeadbody (Ars Nova ANT Fest 2022). She’s collaborated with The Public, 24 Hour Plays, Fire This Time, Conch Shell Productions, Moxie Arts, The Anthropologists, Keen, BUFU, + more. Marissa serves as Literary Manager at The Workshop Theater. MFA Playwriting: Brooklyn College. Marissajoycestamps.com Sanaz Bita (SB) Tennent is an Iranian-American multidisciplinary artist & director of new works, musicals, and classics. Described as having a “deft directorial touch” (Culturebot), she has developed work with New York Theatre Workshop, Ars Nova, The Drama League, Clubbed Thumb, Civilians, BRIC Arts | Media, Mabou Mines, The TEAM, New Georges, Red House Center for Culture & Debate in Bulgaria, Prague Film & Theater Center, and others. Alumni of the Drama League Directors Project, NYTW 2050 Fellowship, Clubbed Thumb Fellowship, and Mabou Mines SUITE/Space Initiative. Artistic Director of the award-winning collective Built4Collapse with whom they devised NUCLEAR LOVE AFFAIR, which played to sold out houses in NYC, Prague, Rome and Krakow. @sbtennent A hardworking gemini with mischievous but kind eyes, Sleth (he/she) was sliced from the belly of a drowned Texas river horse sometime around June 1990. Sleth is a playwright, PowerPoint artist, projection designer and nightlife performer. She has enlightened audiences all across NYC including House of Yes, Three Dollar Bill, the Brick Theater, NYC Inferno, Club Cumming, Bartschland Follies and Play Now! Tristan Allen is a composer and puppeteer based in Brooklyn, NY. Tristan’s work employs the narrative power of instrumental music and puppetry to create an imaginary world. With a background in piano, bass, electronic music, and marionette theater, Tristan applies an experimental mode of storytelling to create rich works of wordless fantasy. Tristan’s ambitions to combine their music with puppetry is underway, beginning with a shadow puppet symphony named Tin Iso and the Dawn. Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

I DIGRESS, written and performed by Sauda Aziza Jackson, is a 4 episode, transmedia, performance memoir exploring the weight of inheritance and the recollection of memories and material things once lost to time. Jackson weaves together fifteen personal tales from her childhood with the media and memorabilia that defined her past. Episodes 2 and 3 will be showcased during the performance. By fusing theatrical performance, song, music, and projection design with archival materials, animation, filmmaking, and video art, TEAM I DIGRESS sifts through the weight and consequences of grief by taking us down a hilarious and heartfelt coming of age journey from a young girl in 1980s Chicago, through her adolescence and the death of her mother, to her own discovery of how absence, family narratives, and the legacy of history shape us—making us who we are and who we are not. ​ PRELUDE Festival 2023 PERFORMANCE I DIGRESS: The Intimate Insights of a Childhood Weirdo Sauda Aziza Jackson & April Sweeney Theater, Film, Multimedia, Performance Art English 60 minutes 3:00PM EST Thursday, October 12, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All I DIGRESS, written and performed by Sauda Aziza Jackson, is a 4 episode, transmedia, performance memoir exploring the weight of inheritance and the recollection of memories and material things once lost to time. Jackson weaves together fifteen personal tales from her childhood with the media and memorabilia that defined her past. Episodes 2 and 3 will be showcased during the performance. By fusing theatrical performance, song, music, and projection design with archival materials, animation, filmmaking, and video art, TEAM I DIGRESS sifts through the weight and consequences of grief by taking us down a hilarious and heartfelt coming of age journey from a young girl in 1980s Chicago, through her adolescence and the death of her mother, to her own discovery of how absence, family narratives, and the legacy of history shape us—making us who we are and who we are not. New York State Council of the Arts, New York City Women's Fund for Media, Music, and Theatre award by the City of New York Mayor's Office of Media and Entertainment in association with the New York Foundation of the Arts, Arts at the Palace, and Colgate University Content / Trigger Description: Strong Language. Sauda Aziza Jackson (Writer & Performer) has performed in many theater productions during her twenty plus years in New York City. The Chicago native has had the opportunity to perform in Now is the Time with Little Lord, Iona Flies Away with Tanisha Christie, Expense of Spirit & Limitless Joy with International Wow (Josh Fox), Sponsored by Nobody’s The Arts & Behind the Bullseye and The Making of King Kong by Lisa Clair at Target Margin. This past May she had the opportunity to work with Lisa Clair again in her premier of Willas Authentic Self. Her autobiographical project I DIGRESS started as two stories and a song. It has screened at Hi-Arts Outdoor Film Festival, New York City Independent Theater and Film Festival, and Theater Revolution’s Glass Ceiling Breakers Film Festival winning laurels for best writer. April Sweeney (Director) is an actor, director of theater and film, and Professor of Theater at Colgate University. Her performance work includes collaborations with directors of distinct and diverse methods of performance making, moving between intimate immersive theater, (re)drawing and complicating “classical” heroines, plays in translation, hybrid performance works exploring the language of film and stage simultaneously, devised theater, and improvised film. She has performed in theaters and festivals in Argentina, Bolivia, Belgium, Colombia, Costa Rica, France, Hungary and in theaters across the U.S. As a director she has created intimate chamber works in NYC, an immersive play in Maine, a 4 episode transmedia performance memoir, staged readings for regional theater, large scale new works with college students, created theater with communities in Patagonia and the Bolivian selva, and curated theater engagement projects with Central New York audiences. She is co-translator and co-editor (with Brenda Werth) of the volume, Fauna and Other Plays by Romina Paula, forthcoming with Seagull Press in 2023. Her work has been supported by the National Endowment of the Arts, National Endowment of the Humanities, New York State Council for the Arts, and the NYC Women's Fund for Media, Music, and Theatre award by the City of New York Mayor's Office of Media and Entertainment in association with the New York Foundation of the Arts. https://www.idigress.info ; http://aprilsweeney.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

PRELUDE Festival 2023 PANEL Devised Theater After COVID With Allen Kuharski and others English 60 minutes 3:00PM EST Monday, October 16, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open to All American Devised Theater After COVID: Teaching, Archiving and the Practice The past, present, and future of devised physical ensemble theater in the US was the topic of an historic NEH Institute in Philadelphia in June. A diverse group of over 50 professors, artist/teachers, grad students, editors, and archivists from around the country as well as several foreign countries gathered for 12 days to discuss the issues of archiving, criticism, and especially the theoretical and historical teaching of this 60-year-old practice in American and world theater. This exchange was prompted by the recent proliferation of the teaching of the practice of devising in colleges, universities, and drama schools (often without a theoretical, critical, historical framing) and the larger challenges to such innovative live performance following the pandemic, Black Lives Matter, and the growing impact of climate change. The Institute was initiated by Quinn Bauriedel of Pig Iron Theatre Company's School for Devised Performance, and co-hosted by Allen Kuharski of Swarthmore College. The panel at CUNY will consist of participants in the Institute and will be a report and critical reflection on the larger issues that emerged from the Institute. With Allen Kuharski, Rye Gentleman (NYU), Tracy Hazas (CUNY-Queens College), Rebecca Adelsheim, Tom Sellar (YSD) and/or others. TBC. Content / Trigger Description: Allen J. Kuharski is Senior Research Scholar in the Department of Theater at Swarthmore College and teaches in Pig Iron Theater Company’s MFA Program in Devised Performance. Kuharski is a widely published critic and scholar on contemporary directing history, theory, and practice and on modern Polish theater and drama. He is co-editor of the 16-volume Witold Gombrowicz: Collected Writings published by Wydawnictwo Literackie in Kraków. He has served as an editor for journals such Theatre Journal, Slavic & East European Performance, Western European Stages, and Periphery: Journal of Polish Affairs. His articles and reviews have been published in Polish, French, Spanish, Norwegian, German, and Bulgarian translations. His own translations from Polish and French have been widely performed in the United States and abroad. As a dramaturg and translator, he has shared two OBIE Awards and a Fringe First Award, and the Polish Ministry of Culture and National Heritage has awarded him the country’s Order of Merit. Kuharski was a Fulbright Scholar in Theater to the Polish Academy of Arts & Sciences in Warsaw in 2017-18. With Quinn Bauriedel of Pig Iron, he was Co-Director of the 2023 NEH Institute in Philadelphia titled “Preserving and Transmitting American Ensemble-Based Devised Theatre.” Tom Sellar, a writer, curator, and dramaturg, is Editor of Theater magazine and Professor in the Practice of Dramaturgy and Dramatic Criticism at Yale University. His writing and criticism have appeared in national publications including Artforum, BOMB, the New York Times, the Guardian, 4Columns, and American Theatre. From 2001-2016 he was a frequent contributor to the Village Voice, where he covered theater and performance art nationally, serving as an Obie award judge and for two terms as chief theater critic. He has also contributed to numerous book anthologies including The Routledge Companion to Dramaturgy; Joined Forces: Audience Participation in Theater; Curating Live Arts: Global Perspectives, Envisioning Theory and Practice in Performance; and the history BAM: The Next Wave Festival. He has curated programs for American Realness, Queer Zagreb, the Institute for Arts and Civic Dialogue (with Anna Deavere Smith), Prague Quadrennial, Philadelphia Fringe Arts, and other organizations. With Antje Oegel, Tom co-curated Prelude 2015 (What Could We Build, or Is the Future Already Behind Us?) and Prelude 2016 (Welcome Failure). Rebecca Adelsheim is a doctoral candidate in Dramaturgy & Dramatic Criticism at the David Geffen School of Drama at Yale where they study queer theater and performance, and lecturer at Tufts University. As a new play dramaturg and producer, Rebecca has worked for companies including Audible Theater, Steppenwolf Theater Company, Baltimore Center Stage, the Goodman Theater, Philadelphia Theater, and Barrington Stage, among others. Recent credits include co-adapator for Affinity based on the novel by Sarah Waters with director Alex Keegan and dramaturg and researcher forsoldiergirls by Em Weinstein. Their writing has been published in Theater magazine, where they also serve as the associate editor. They have received research grants from the Beinecke Library and theFund for Gay and Lesbian Studies (FLAGS) at Yale University and is the recipient of the John W. Gassner Memorial prize and the G. Charles Niemeyer Scholarship. Rebecca is originally from Pittsburgh, PA and received their B.A. from the University of Pennsylvania and their M.F.A. from the Yale School of Drama. Rye Gentleman is the Librarian for Performing Arts in the Division of Libraries. He holds a PhD from University of Minnesota's Theatre Arts & Dance Department and an MLIS from San Jose State University. Gentleman conducts research at the intersection of performance studies, transgender studies, and new media studies. His dissertation-based book project explores the ways transgender embodiment is conceptualized in and shaped by digital media and shows how actual and imagined transgender bodies are enmeshed in digital systems that exert a normative pressure, while also offering the capacity to materialize more expansive actualizations of gendered embodiment. He is also currently working as contributor and co-editor on an anthology focused on transfeminist theatre and performance. His writing has been published in TDR: The Drama Review, QED: A Journal in GLBTQ Worldmaking, Text and Performance Quarterly, and Fifty Key Figures in Queer US Theatre (Routledge). TRACY HAZAS is an actor and movement director. She has performed at NYC theaters including New York City Center, Dixon Place, Abrons Art Center, and Theater for the New City; most recently, she was seen in Preparedness, co-produced by the Bushwick Starr and HERE Arts Center. Hazas is an affiliated artist with Counter-Balance Theater. She is the voice of the Eisenhower Memorial in Washington, D.C., and the Henry Ford Museum of American Innovation, and has appeared in commercials for Xbox, Tide and others. She made her feature debut in White Rabbit at the 2018 Sundance Film Festival. Currently she’s designing movement for The Wolves at Queens College; and developing an original work, Los Kentubanos, which reconstructs moments from her family’s history in Cuba, utilizing archival documents and her father’s digital collection of roughly 30,000 family photos dating from the early 1900s. Hazas teaches performance, movement, collaboration and voice at Queens College (CUNY). Previous academic positions include Lecturer of Acting and Movement at Stanford University, and work at Emerson College Los Angeles, Montclair State University and others. Photo credits: Allen J. Kuharski. Credit by Ted Kostans. Tom Sellar. Photo credit by the artist. Rebecca Adelsheim. Photo credit by the artist. Rye Gentleman. Photo credit by the artist. TRACY HAZAS. Photo credit by the artist. Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

In conversation about past and upcoming projects PRELUDE Festival 2023 ARTIST TALK Annie-B Parson Dance, Discussion English 30 minutes 3:30PM EST Saturday, October 14, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All In conversation about past and upcoming projects Big Dance Theater Content / Trigger Description: Annie-B will give an artist talk. Choreographer Annie-B Parson is the artistic director of Obie award-winning Big Dance Theater, which she co-founded in 1991 with Paul Lazar and Molly Hickok. Parson has co-created over twenty large-scale works for such venues as the Brooklyn Academy of Music, the Old Vic/London, Saddler’s Wells/London, The Walker, The National Theater/Paris, Japan Society and The Kitchen. Outside of her company, some of the artists she has worked with include David Byrne, David Bowie, Lorde, St. Vincent, Mikhail Baryshnikov, Wendy Whelan, Anne Carson, Esperanza Spalding, Suzan-Lori Parks, Laurie Anderson, Salt n Pepa, Jonathan Demme, and the Martha Graham Dance Company. Parson choreographed and did musical staging for American Utopia, and she choreographed Byrne’s musical Here Lies Love which is currently on Broadway; as well as his tours with Brian Eno, and St. Vincent. Parson recently choreographed two operas: Candide at the Lyon Opera, and The Hours at The Met. Parson’s writing has been published in The Atlantic, and The Paris Review; her book The Choreography of Everyday Life is published by Verso Press. Upcoming, with Thomas F. DeFrantz, she is co-editing a book entitled: Dance History(s): Imagination as a Form of Study. bigdancetheater.org anniebparson.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

One-person show about queerness, camp, and our obsessive fascination with film divas. PRELUDE Festival 2023 PERFORMANCE Would you be shocked if I put on something more comfortable? Fernando Vieira Theater, Film, Multimedia English 30 minutes 7:30PM EST Friday, October 20, 2023 Torn Page, West 22nd Street, New York, NY, USA Free Entry, Open To All One-person show about queerness, camp, and our obsessive fascination with film divas. Content / Trigger Description: PG/ mention of gender identity Fernando Vieira is an Ecuadorian-born New York-based writer, director, and performer. Vieira debuted as a playwright and stage director with the one-person monologue “Me Voy Porque Puedo” in 2016. Other projects include starring in and directing “The Maids” in 2017 and “Las Mártiras” in 2022. Recent playwriting works include two stage plays that explore queerness, violence, and the quest for freedom: “Goodbye, Little George'', which takes place in Florida between the mid- 1960’s and early 1980’s and “Anormales”, a play about queerness in Ecuador during the early 1990’s. In 2021, Vieira created the ¡Bótate! Latinx Performance Festival. Screen work includes the documentary “Unlabeled” (2021) and experimental film “Snippets.” (2023). Fernando has been part of artistic cohorts at NYFA, Creative Capital, and Leslie-Lohman Museum. Fernando has a Bachelor of Arts in Latin American Studies and is a candidate for a Master of Arts in Liberal Studies-Film Studies concentration. www.fernando-vieira.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

Two friends in the after hours entertain ghosts in the kitchen and the bedroom. One friend takes a long walk to the grocery store. One young woman waits for her. This is a short play about locating and accessing one’s will when the will has begun to drift away. PRELUDE Festival 2023 PERFORMANCE ANALOG INTIMACY (Second Showing) Jess Barbagallo / Half Straddle Theater English 30 Minutes 7:30PM EST Tuesday, October 10, 2023 Park Avenue Armory, 643 Park Ave, New York, NY, USA Free Entry, Open To All Two friends in the after hours entertain ghosts in the kitchen and the bedroom. One friend takes a long walk to the grocery store. One young woman waits for her. This is a short play about locating and accessing one’s will when the will has begun to drift away. Content / Trigger Description: Jess Barbagallo is an American writer, director, and performer based in New York City. He has toured internationally and domestically with Big Dance Theater, the Builders Association, Theater of a Two-Headed Calf (and its Dyke Division) and Half Straddle. Barbagallo has originated roles in plays by Joshua Conkel, Casey Llewellyn, Normandy Sherwood, Trish Harnetiaux and many others. He appeared as Yann Fredericks in the original cast of Harry Potter and the Cursed Child at the Lyric Theatre on Broadway. His playwrighting credits include Grey-Eyed Dogs (Dixon Place), Saturn Nights (Incubator Arts Center), Good Year for Hunters (New Ohio Theatre), Karen Davis Does … (Brooklyn Arts Exchange), Joe Ranono’s Yuletide Log and Other Fruitcakes (Dixon Place), Sentence Fetish (Brick Theater), Melissa, So Far(Andy’s Playhouse) and My Old Man (and Other Stories) (Dixon Place). His writing has been published by Artforum, Howlround, Bomb Blog, New York Live Arts Blog: Context Notes, Brooklyn Rail and 53rd State Press. He is a 2009 Soho Rep Writer/Director Lab alum, a 2012 Queer Arts Mentorship mentee, and a 2013 MacDowell Colony Fellow. Barbagallo has taught theater and writing as a guest artist and adjunct lecturer at Duke University, New York University, University of Pennsylvania, Brooklyn College, the Vermont Young Playwright’s Festival and The O’Neill Center. Kristina "Tina" Satter is an American filmmaker, playwright, and director based in New York City. She is the founder and artistic director of the theater company Half Straddle, which formed in 2008 and received an Obie Award grant in 2013. Satter won a Guggenheim in 2020. Satter was described by Ben Brantley of the New York Times as "a genre-and-gender-bending, visually exacting stage artist who has developed an ardent following among downtown aesthetes with a taste for acidic eye candy and erotic enigmas." Her work often deals with subjects of gender, sexual identity, adolescence, and sports. She won a Foundation for Contemporary Arts Grants to Artists award (2016), and a Doris Doris Duke Artist Impact Award in 2014. In 2019, she received a Pew Fellowship. Satter has created 10 shows with Half Straddle, and the company's shows and videos have toured to over 20 countries in the U.S., Europe, Australia, and Asia. She made her Off Broadway debut as a conceiver and director in fall 2019 with Is This a Room at the Vineyard Theatre. A collection of three of her plays, Seagull (Thinking of You), with Away Uniform and Family was published in 2014. The text for her show Ghost Rings was published in 2017 by 53rd State Press along with a vinyl album of the show's songs. Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

Directors of Nature Theater of Oklahoma Kelly Copper and Pavol Liska discuss their work, past and present. PRELUDE Festival 2023 ARTIST TALK Nature Theater of Oklahoma Theater English 60 minutes 4:00PM EST Friday, October 13, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Directors of Nature Theater of Oklahoma Kelly Copper and Pavol Liska discuss their work, past and present. Content / Trigger Description: Discussion about their work Kelly Copper and Pavol Liska began their collaboration in 1997, and together founded Nature Theater of Oklahoma in 2006. The company is committed to “making the work they don’t know how to make,” an approach yielding new amalgams of opera, dance, and theatre, combined with popular culture and humor. Their work has been commissioned by theaters and festivals around the world, including Rhurtriennale, Hebbel Theater, Wiener Festwochen, Burgtheater Wien, Mousonturm, Schauspielhaus Frankfurt, Zürcher Theater Spektakel, Festival d'Avignon, Kampnagel Hamburg, and Salzburger Festspiele. Copper and Liska have each been recipients of the Guggenheim Fellowship, the Doris Duke Performing Artist Award and the Alpert Award in the Arts. They have received two OBIE Awards for their work on No Dice and Life and Times, and were recipients of the Salzburg Young Directors Award in 2008 for Romeo and Juliet. In 2018 they received the Nestroy Speical Prize in Theater for their work on Die Kinder der Toten. www.oktheater.org Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

This event will take place in the Art History Screening Room in GC CUNY from Wednesday, October 11 to Saturday, October 14, everyday from 3pm to 8:30pm EST. Imagine that the American Theater is dead, or Downtown at any rate is dead, or both, or maybe no one can find the body but it's probably dead, anyway there was definitely a crime, or series of crimes; the place is a mess, and someone has watered down the whisky. You are a detective, or a prime witness, or a culprit, or all of the above, and you have been invited to contribute to one of those great evidence or murder boards/crazy walls they have on cop shows...sometimes in the stationhouse, sometimes in the serial killer lair... bring your questions, your theories, your schemes, your accusations, your confessions, your factoids, your manias; bring your hard won diagnosis, bring your intricately worked out solutions. We will supply: index cards, felt tips, crayons, red string. PRELUDE Festival 2023 INTERVIEW Murder Room - Day 3 Anne Washburn, Many Others including, perhaps, yourself. Theater, Other, Discussion, Multimedia English 5 min - 55 min, your choice. 3:00PM to 8:30PM EST Friday, October 13, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Sign Up to Contribute This event will take place in the Art History Screening Room in GC CUNY from Wednesday, October 11 to Saturday, October 14, everyday from 3pm to 8:30pm EST. Imagine that the American Theater is dead, or Downtown at any rate is dead, or both, or maybe no one can find the body but it's probably dead, anyway there was definitely a crime, or series of crimes; the place is a mess, and someone has watered down the whisky. You are a detective, or a prime witness, or a culprit, or all of the above, and you have been invited to contribute to one of those great evidence or murder boards/crazy walls they have on cop shows...sometimes in the stationhouse, sometimes in the serial killer lair... bring your questions, your theories, your schemes, your accusations, your confessions, your factoids, your manias; bring your hard won diagnosis, bring your intricately worked out solutions. We will supply: index cards, felt tips, crayons, red string. This room has received material support from Playwrights Horizons, and New Georges, with numerous numerous contributors throughout the field. Content / Trigger Description: Anne Washburn is a playwright whose works include 10 out of 12, Antlia Pneumatica, Apparition, The Communist Dracula Pageant, A Devil At Noon, I Have Loved Strangers, The Internationalist, The Ladies, Little Bunny Foo Foo, Mr. Burns, Shipwreck, The Small, and transadaptations of Euripides' Orestes & Iphigenia in Aulis. Her work has premiered with 13P, Actors Theater of Louisville, the Almeida, American Repertory Theatre, Cherry Lane Theatre, Classic Stage Company, Clubbed Thumb, The Civilians, Dixon Place, Ensemble Studio Theater, The Folger, Playwrights Horizons, Soho Rep, Two River Theater Company, Vineyard Theater and Woolly Mammoth. Other contributors include: playwrights, box office personnel, artistic directors, literary managers, actors, designers, program directors, development directors, producers, interns, audience members, stage managers, directors. Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

A Panel Performance Next to developing and presenting the work of pioneering emerging artists and career experimenters The Brick Performance Space actively support global artists without work permits or permanent visas in their dream to live and work in New York City. Now Theresa Buchheister turned the work-in-process into a panel performance. Artist will apply during the session for their visa, panelist will talk about the impossible procedure of obtaining a visa, work permit or a green card for global artists. Audiences will get a close look at the the innumerable complex challenges diaspora artists face in New York City. The panelists are M. Can Yasar, Lianne Elsouki, Rawya El Chab, John Phillip Faienza and HanJie Chow. Moderated by Karuna Shinsho. Produced by Theresa Buchheister and The Brick Theater With Performances from the Panelists Theresa Buchheister will receive their PRELUDE’23 Award after the VISA — Mon Amour presentation. PRELUDE Festival 2023 PERFORMANCE VISA - Mon Amour Theresa Buchheister, The Brick, Karuna Shinsho Theater English 60 Mins 7:00PM EST Thursday, October 19, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All A Panel Performance Next to developing and presenting the work of pioneering emerging artists and career experimenters The Brick Performance Space actively support global artists without work permits or permanent visas in their dream to live and work in New York City. Now Theresa Buchheister turned the work-in-process into a panel performance. Artist will apply during the session for their visa, panelist will talk about the impossible procedure of obtaining a visa, work permit or a green card for global artists. Audiences will get a close look at the the innumerable complex challenges diaspora artists face in New York City. The panelists are M. Can Yasar, Lianne Elsouki, Rawya El Chab, John Phillip Faienza and HanJie Chow. Moderated by Karuna Shinsho. Produced by Theresa Buchheister and The Brick Theater With Performances from the Panelists Theresa Buchheister will receive their PRELUDE’23 Award after the VISA — Mon Amour presentation. Content / Trigger Description: HanJie Chow (he/him/his) Multidisciplinary theatre artist: Webster’s Bitch (Playhouse on Park), Boxes (Creating Apart ’21, London), Sky of Darkness (TheatreLab), Bike America, The Richard Project, Lady Lucy, “Virtual Love in Lockdown” (Fentress Films), “Ondeh Ondeh". American Academy of Dramatic Arts, Company 2019. Collaborates behind-the-scenes in costuming and as a photographer: Merrily We Roll Along (Broadway & NYTW), POTUS (Broadway), KPOP (Ars Nova), Underground Railroad Game (Ars Nova), hanjiechow.com M. Can Yasar is a New York based Turkish actor, writer, and singer/songwriter. His shows written and performed by him include, "A Hundred Dollar Bill,” at the United Solo Festival at Theater Row, received the “Best Autobiographical Show” award; "Smoke Point" performed at Interrobang!? at The Brick; an extended draft of "A Hundred Dollar Bill," part of the New Works Series at TADA Theatre; "Master of Time", including Yasar’s original songs, at the New York Theatre Festival at Theater Latea, where he was nominated as "Best Singer." Yasar most recently created “Only Place I Belong”, an autobiographical musical written and composed by him and opened at The Tank. Later the musical had the following concert performances at the Brick Theater. He graduated from Marymount Manhattan College in Theater Arts, and received his MFA from University of South Carolina where he also taught beginning acting for two years. Lianne Elsouki is an actor, theater maker and teaching artist based in Brooklyn. Hailing from Beirut where she innately found herself indulging in surrealist and absurdist theater, her approach of working with youths and teaching theater sharpened her psychological lens and influenced her artistic process. Her most recent work-in-progress that previewed at the Brick’s :?!New Works Festival was a psychomagic act titled PANICMOM. Lianne has performed in One Night at the Target Margin theater. For the Exponential Festival, she collaborated in creating Epikononia as well as staged managed The Gambler. Rawya El Chab is a theater maker and teaching artist based in New York City. Growing up in post-Taef accord Beirut following the civil war, Rawya recognizes the role of art as a critical space for suspending states of emergency and fostering social, ethical, and aesthetic reflections. She values art as a means to generate an oral history that escapes the control of power. Since relocating to New York, Rawya has been actively engaged with Target Margin Productions, contributing both as a performer and a dedicated teaching artist. Additionally, she has co-created three notable productions: "The Meltdown," featured in the Global Forms Fest, "The Gambler," and "Epikoinonia," both integral parts of The Exponential Festival. Currently, Rawya is in the process of developing her inaugural solo piece titled "Loula, The Pearl of the Bekaa," scheduled for presentation at La Mama Theater in February 2024. In her continued artistic journey, Rawya El Chab remains committed to pushing the boundaries of storytelling and performance, offering unique insights and experiences to her audiences. John-Philip Faienza is a Canadian theatre and video artist of Argentinian and Italian settler descent living and working in NYC. His performance work has been included in the SummerWorks and Rhubarb festivals for contemporary performance in Toronto, and the Exponential Festival in Brooklyn. He’s spent a lot of time supporting new artistic works as a technician and Production Manager, including as an Associate Producer for the Performa Biennial, Production Coordinator for LMCC’s River to River Festival, and as Technical Coordinator at Rooftop Films. In Toronto, he’s worked with companies Aluna, Crow’s, Obsidian, Nightswimming, ARC, Public Recordings, the Theater Centre, and at the gloriously dead Videofag. He’s a member of the Lincoln Center Theater Directors Lab. He likes to walk, drive, and bike long distances, often in search of really good food. Karuna Shinsho is an award-winning broadcast journalist that has worked for various international news organizations throughout Asia and the United States. From 1989 to 2001, she was anchor and/or reporter for NHK Television, Japan and New York, Asia Business News, Singapore and CNN International, Hong Kong, then in 2004 for Australian Broadcasting Corporation, Singapore. Her writing on "Japanese Management" has been published in Asia's New Crisis: Renewal Through Total Ethical Management (Asia: John Wiley & Sons Pte Ltd., 2004). After her career in journalism, Karuna pivoted to focus on her passion for music. She released her debut album of jazz standards and bossa nova classics in 2021. Her album, To Love Again, with songs in English, Portuguese, and Japanese, was nominated for Best Jazz Album at the 2022 WAMMIE Awards in Washington, D.C. She is currently working on her second album of bossa nova tunes which will be dedicated to the Brazilian composer Antonio Carlos Jobim. Karuna obtained a Master of Arts degree in International Affairs with a regional concentration in East Asia from the School of International and Public Affairs, Columbia University in New York and a Bachelor of Arts degree in Political Science from the Department of Comparative Culture, Sophia University in Japan. Theresa Buchheister is the Artistic Director of The Brick Theater, Co-Artistic Director of Title:Point, Founder and Co-Curator of The Exponential Festival. In addition to writing, directing, performing and producing theater, Theresa works as a voice over director, performer, engineer and teacher. Theresa has directed hundreds of audiobooks (How Music Works by David Byrne, Leaving the Sea by Ben Marcus, The Short Stories of Lydia Davis, The Perks of Being a Wallflower by Stephen Chbosky) and some fun cartoons (BoyGirlDogCatMouseCheese, Pokemon, Winx Club, Denver), as well as narrating spicy novels and voicing villains. Theresa teaches at HB Studio. https://www.bricktheater.com/ Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on