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Lisa Fagan and Lena Engelstein interrupt this broadcast to bring you a site specific, physically maximal performance work for any room with a podium that takes place in the few seconds between an interruption and the actual thing that happens in which the perf-Lisa Fagan, Lena Engelstein, and Marianne Rendón PRELUDE Festival 2023 DANCE Untitled Lisa Fagan/Lena Engelstein/Marianne Rendón Theater, Dance English 30 mins 7:00PM EST Wednesday, October 11, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Lisa Fagan, Lena Engelstein, and Marianne Rendón interrupt this broadcast to bring you a site specific, physically maximal performance work for any room with a podium that takes place in the few seconds between an interruption and the actual thing that happens in which the perf- Content / Trigger Description: LISA FAGAN is a choreographer, dancer, and director based in NYC whose work has been called “The High Weird” by critics. She is also the director/choreographer and a practicing member of the experimental performance company CHILD. UPCOMING: HILMA (choreographer), premiering June 2024 at The Wilma Theater, 2024 Baryshnikov Arts Center Artist in Residence, Deepe Darknesse (creator/performer) in New York Live Arts’ Live Artery 2024. Fagan’s work has been presented in NYC by: Immediate Medium, Mercury Store, Radiohole, LifeWorld, Target Margin (2019/20 Artist in Residence with composer Catherine Brookman), HERE Arts, Bard College (Choreographer: Promenade, Dir. Morgan Green), The Exponential Festival (2019/20 Exponential Fellow), Mabou Mines (Resident Artist Program), Ars Nova (ANT FEST), New York Live Arts (2017/18 Fresh Tracks Artist), Movement Research, Gibney, Roulette, The 92nd Street Y, and others. She collaborates with many artists across disciplines supporting their shows choreographically and as movement director. On-screen choreography credits include the TV pilot THESE DAYS, premiering at Sundance 2021, and various music videos. www.lisafagandanceproblems.com @lfdanceproblems LENA ENGELSTEIN is a dancer, performer, and choreographer. She has collaborated with and performed in work by director Lisa Fagan since 2017, and is currently part of the interdisciplinary performance collective CHILD, headed by Fagan. Since 2020, Engelstein has collaborated with Jo Warren, Miguel Alejandro Castillo, and Magda San Millan on new works. Other recent performance credits include: Alexa West, Barnett Cohen, Falcon Dance (company member, 2018-present), Third Rail Company’s Then She Fell (company member, 2019-2020), and Brendan Drake (company member, 2017-2020). She directed movement for the Lou Tides visual album Sense of Touching, and currently performs live with the band. She has taught dance and choreography at SUNY Brockport, Bard College, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. @lenaengelstein MARIANNE RENDÓN is a Brooklyn based actor, musician, and performer. Theater: Plot Points in Our Sexual Development (Lincoln Center), Lazarus (NYTW), Who Left This Fork Here (Baryshnikov Arts Center). Film: Patti Smith in Mapplethorpe, Charlie Says, One Day As A Lion, The Kill Room, Summer Solstice. TV: “Imposters”, “In the Dark”, “Extrapolations”. Education: Bard College, Juilliard. https://www.lisafagandanceproblems.com/ @Lfdanceproblems @lenaengelstein Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

DANCERS 4 PALESTINE + THEATER WORKERS FOR A CEASEFIRE presents Building Cultural Power through Organizing at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Building Cultural Power through Organizing DANCERS 4 PALESTINE + THEATER WORKERS FOR A CEASEFIRE 3-3:50 pm Thursday, October 17, 2024 Elebash Recital Hall RSVP Organizers from two Palestine solidarity formations in the arts will dialogue about the obstacles and opportunities related to organizing within the arts, specifically as it relates to the current struggle for building solidarity for Palestine today. Topics of discussion will include strategies and tactics, building cultural power, an overview of actions, and provocations for others to develop or join organizing efforts from wherever they are. This event will be livestreamed via Howlround Theatre Commons . Building Cultural Power through Organizing is presented in partnership with ASAP/15: Not a Luxury LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . 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. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Theater Workers for a Ceasefire exists to organize U.S.-based theater workers in solidarity with the people of Palestine. We aim to use our bodies and talents in pursuit of a comprehensive ceasefire, which we understand is merely the first step among many in realizing a Free Palestine. Dancers for Palestine (D4P) is an autonomous group of dance workers who organize in solidarity with the global movement for Palestinian liberation. Formed during Israel’s genocidal attack on Gaza beginning in 2023, D4P seeks to both cohere and create a dance community which is vocal and active in its support of the Palestinian people. D4P is a local and international endeavor with a core organizing group in NYC and an ever expanding network of dancers and organizers working toward a dance field free from complicity in genocide, imperialism, white supremacy, and all systems of oppression. D4P’s work has included protest and direct action, political education events, art-based fundraising, and campaigns in alignment with the Palestinian Academic and Cultural Boycott of Israel (PACBI) and against repressive anti-boycott policies. D4P works alongside with other arts and culture-based groups organizing for Palestine, including Artists Against Apartheid, Theatre Workers for a Ceasefire, and Writers Against the War on Gaza, and aligns strongly with labor organizing movements in the arts. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

SHONNI ENELOW + DAVID LEVINE presents David Mamet's Glengarry Glen Ross: WTF at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 David Mamet's Glengarry Glen Ross: WTF SHONNI ENELOW + DAVID LEVINE 6:30-7:20 pm Wednesday, October 16, 2024 Elebash Recital Hall RSVP An expression of pure 80s id, David Mamet's Glengarry Glen Ross geysers up craven capitalism, deranged method acting, and American maleness at its most revolting. But has its moment truly passed? Enelow and Levine preview the third of their performance dinners at the Invisible Dog, in which actors read, Lucien cooks, guests eat, and everyone discusses great plays with freaky politics. Performed with Eric Cotti and Noah Gold LOBSTER Nora loves Patti Smith. Nora is Patti Smith. Nora is stoned out of her mind in the Chelsea Hotel. Actually, the Chelsea Hotel is her mind. Actually, the Chelsea Hotel is an out-of-use portable classroom in the Pacific Northwest, and that classroom is a breeding ground for lobsters. LOBSTER by Kallan Dana directed by Hanna Yurfest produced by Emma Richmond with: Anna Aubry, Chris Erdman, Annie Fang, Coco McNeil, Haley Wong Needy Lover presents an excerpt of LOBSTER , a play about teenagers putting on a production of Patti Smith and Sam Shepard's Cowboy Mouth . THE ARTISTS Needy Lover makes performances that are funny, propulsive, weird, and gut-wrenching (ideally all at the same time). We create theatre out of seemingly diametrically opposed forces: our work is both entertaining and unusual, funny and tragic. Needylover.com Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed and presented work with Clubbed Thumb, The Hearth, The Tank, Bramble Theater Company, Dixon Place, Northwestern University, and Lee Strasberg Theatre & Film Institute. She is a New Georges affiliated artist and co-founder of the artist collaboration group TAG at The Tank. She received her MFA from Northwestern University. Upcoming: RACECAR RACECAR RACECAR with The Hearth/Connelly Theater Upstairs (dir. Sarah Blush), Dec 2024. LOBSTER with The Tank (dir. Hanna Yurfest), April/May 2025. Needylover.com and troveirl.com Hanna Yurfest is a director and producer from Richmond, MA. She co-founded and leads The Tank’s artist group TAG and creates work with her company, Needy Lover. Emma Richmond is a producer and director of performances and events. She has worked with/at HERE, The Tank, The Brick, and Audible, amongst others. She was The Tank’s 2022-23 Producing Fellow, and is a member of the artist group TAG. Her day job is Programs Manager at Clubbed Thumb, and she also makes work with her collective Trove, which she co-founded. www.emma-richmond.com Rooting for You The Barbarians It's the Season Six premiere of 'Sava Swerve's: The Model Detector' and Cameron is on it!!! June, Willa, and (by proximity) Sunny are hosting weekly viewing parties every week until Cameron gets cut, which, fingers crossed, is going to be the freakin' finale! A theatrical playground of a play that serves an entire season of 'so-bad-it's-good' reality TV embedded in the social lives of a friend group working through queerness, adolescence, judgment, and self-actualization. Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. THE ARTISTS Ashil Lee (he/they) NYC-based actor, playwright, director, and sex educator. Korean-American, trans nonbinary, child of immigrants, bestie to iconic pup Huxley. Described as "a human rollercoaster" and "Pick a lane, buddy!" by that one AI Roast Bot. 2023 Lucille Lortel nominee (Outstanding Ensemble: The Nosebleed ) and Clubbed Thumb Early Career Writers Group Alum. NYU: Tisch. BFA in Acting, Minor in Youth Mental Health. Masters Candidate in Mental Health and Wellness (NYU Steinhardt: 20eventually), with intentions of incorporating mental health consciousness into the theatre industry. www.ashillee.com Phoebe Brooks is a gender non-conforming theater artist interested in establishing a Theatre of Joy for artists and audiences alike. A lifelong New Yorker, Phoebe makes art that spills out beyond theater-going conventions and forges unlikely communities. They love messing around with comedy, heightened text, and gender performance to uncover hidden histories. She's also kind of obsessed with interactivity; particularly about figuring out how to make audience participation less scary for audiences. Phoebe has a BA in Theatre from Northwestern University and an MFA in Theatre Directing from Columbia University's School of the Arts. The Barbarians is a word-drunk satirical play exploring political rhetoric and the power of words on the world. With cartoonish wit and rambunctious edge, it asks: what if the President tried to declare war, but the words didn't work? Written by Jerry Lieblich and directed by Paul Lazar, it will premiere in February 2025 at LaMama. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation. THE ARTISTS Jerry Lieblich (they/them) plays in the borderlands of theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Plays include Mahinerator (The Tank), The Barbarians (La Mama - upcoming), D Deb Debbie Deborah (Critic’s Pick: NY Times), Ghost Stories (Critic’s Pick: TimeOut NY), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Their poetry collection otherwise, without was a finalist for The National Poetry Series. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, and UCROSS, and Yiddishkayt. MFA: Brooklyn College. www.thirdear.nyc Paul Lazar is a founding member, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, The Old Vic (London), The Walker Art Center, Classic Stage Co., New York Live Arts, The Kitchen, and Japan Society. Paul directed Young Jean Lee’s We’re Gonna Die which was reprised in London featuring David Byrne. Other directing credits include Bodycast with Francis McDormand (BAM), Christina Masciotti’s Social Security (Bushwick Starr), and Major Bang (for The Foundry Theatre) at Saint Ann’s Warehouse. Awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award (2007), and the Prelude Festival’s Frankie Award (2014), as well an Obie Award for Big Dance in 2000. Steve Mellor has appeared on Broadway (Big River ), Off-Broadway (Nixon's Nixon ) and regionally at Arena Stage, Long Wharf Theater, La Jolla Playhouse, Portland Stage and Yale Rep. A longtime collaborator with Mac Wellman, Steve has appeared in Wellman's Harm’s Way, Energumen, Dracula, Cellophane, Terminal Hip (OBIE Award), Sincerity Forever, A Murder of Crows, The Hyacinth Macaw, 7 Blowjobs (Bessie Award), Strange Feet, Bad Penny, Fnu Lnu, Bitter Bierce (OBIE Award), and Muazzez . He also directed Mr. Wellman's 1965 UU. In New York City, he has appeared at the Public Theater, La Mama, Soho Rep, Primary Stages, PS 122, MCC Theater, The Chocolate Factory, and The Flea. His film and television credits include Sleepless in Seattle, Mickey Blue Eyes, Celebrity, NYPD Blue, Law and Order, NY Undercover, and Mozart in the Jungle. Chloe Claudel is an actor and director based in NYC and London. She co-founded the experimental company The Goat Exchange, with which she has developed over a dozen new works of theater and film, including Salome, or the Cult of the Clitoris: a Historical Phallusy in last year's Prelude Festival. She's thrilled to be working with Paul and Jerry on The Barbarians . 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. Naren Weiss is an actor/writer who has worked onstage (The Public Theater, Second Stage, Kennedy Center, Geffen Playhouse, international), in TV (ABC, NBC, CBS, Comedy Central), and has written plays that have been performed across the globe (India, Singapore, South Africa, U.S.). Upcoming: The Sketchy Eastern European Show at The Players Theatre (Mar. '24). Shonni Enelow is a critic and scholar who writes about film and theater. She is the author of Joanna Hogg (Contemporary Film Directors series, University of Illinois Press, 2024) and Method Acting and Its Discontents: On American Psycho-Drama (Northwestern University Press, 2015). She is the winner of the 2015-2016 George Jean Nathan Award for Dramatic Criticism. Her book with David Levine, A Discourse on Method , was published by 53rd State Press in 2020, and her book with Una Chaudhuri, The Ecocide Project , was published by Palgrave in 2013. She is Professor of English at Fordham University. David Levine is an artist whose work encompasses theater, performance, video, and photography. Recent exhibitions include Dissolution , at the Museum of the Moving Image and Some of the People, All of the Time at the Brooklyn Museum. His work been featured in Artforum, Theater, n+1, BOMB, and the New York Times. He is the author, with Shonni Enelow of A Discourse on Method (53rd State Press), and with Alix Rule, of International Art English (Triple Canopy). He is the recipient of a 2018 Guggenheim fellowship and a 2012 OBIE, and is Professor of the Practice of Performance, Theater, and Media at Harvard University. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Watch Maria Klassenberg by Magda Hueckel, Tomasz Śliwiński at the Segal Film Festival on Theatre and Performance 2024. The film created by the Academy Award nominees: Magda Hueckel and Tomasz Śliwiński is a biographical mockumentary about Maria Klassenberg, a forgotten pioneer of performance art. All of her life the artist has created and presented her works in her apartment in Warsaw. The action of the film takes place at the opening of an exhibition, where the artist’s radical works from the ‘70s and the ‘80s, that up to that point had been seen by the family and friends only, are presented to the wider audience for the first time. The moment Maria Klassenberg’s works finally are discovered by the art world is at the same time the culmination of her personal conflict with her daughter - Aneta Klassenberg, the curator of the exhibition. For Aneta, Maria’s exhibition is a compensation for the lost childhood and the only way to rebuild a close relationship with her mother. The unsettled past shared by the mother and daughter becomes the artist’s final work. Maria Klassenberg has never existed, which doesn’t mean she’s not real. She represents all female artists who haven’t had a chance to make their mark on the art market controlled by men. Her biography and artistic portfolio has been created by a group of Polish theatre and visual art artists: the concept and the very character of Maria Klassenberg has been created by Katarzyna Kalwat (theatre director), with the help form Anda Rottenberg (a curator and one of the protagonists of the film) and Joanna Zielińska, and the archive of the artist’s works from the ‘70s and the ‘80s has been developed by Aneta Grzeszykowska and Jan Smaga. The film features fragments of famous performances from the 20th century, that resonate with Klassenberg’s works. On the one hand this documentary is an artistic recording of the performance-exhibition directed by Katarzyna Kalwat but on the other hand it’s a provocation attempt: how will the modern world of art, which declares gender equity, react to a fictitious female artist who combines in her works feministic motifs found in the 20th century art? Feature Image Credits: Aneta Grzeszykowska, From the Maria Klassenberg archives, 1970-1980, 2019. Cooperation: Jan Smaga. Performers: Anna Rutkowska, Wojciech Żera The Martin E. Segal Theater Center presents Maria Klassenberg At the Segal Theatre Film and Performance Festival 2024 A film by Magda Hueckel, Tomasz Śliwiński Theater, Documentary, Film, Performance Art This film will be screened in-person on May 16th and also be available to watch online May 16th onwards for 3 weeks. About The Film Country Poland Language Polish, English Running Time 62 minutes Year of Release 2024 The film created by the Academy Award nominees: Magda Hueckel and Tomasz Śliwiński is a biographical mockumentary about Maria Klassenberg, a forgotten pioneer of performance art. All of her life the artist has created and presented her works in her apartment in Warsaw. The action of the film takes place at the opening of an exhibition, where the artist’s radical works from the ‘70s and the ‘80s, that up to that point had been seen by the family and friends only, are presented to the wider audience for the first time. The moment Maria Klassenberg’s works finally are discovered by the art world is at the same time the culmination of her personal conflict with her daughter - Aneta Klassenberg, the curator of the exhibition. For Aneta, Maria’s exhibition is a compensation for the lost childhood and the only way to rebuild a close relationship with her mother. The unsettled past shared by the mother and daughter becomes the artist’s final work. Maria Klassenberg has never existed, which doesn’t mean she’s not real. She represents all female artists who haven’t had a chance to make their mark on the art market controlled by men. Her biography and artistic portfolio has been created by a group of Polish theatre and visual art artists: the concept and the very character of Maria Klassenberg has been created by Katarzyna Kalwat (theatre director), with the help form Anda Rottenberg (a curator and one of the protagonists of the film) and Joanna Zielińska, and the archive of the artist’s works from the ‘70s and the ‘80s has been developed by Aneta Grzeszykowska and Jan Smaga. The film features fragments of famous performances from the 20th century, that resonate with Klassenberg’s works. On the one hand this documentary is an artistic recording of the performance-exhibition directed by Katarzyna Kalwat but on the other hand it’s a provocation attempt: how will the modern world of art, which declares gender equity, react to a fictitious female artist who combines in her works feministic motifs found in the 20th century art? Feature Image Credits: Aneta Grzeszykowska, From the Maria Klassenberg archives, 1970-1980, 2019. Cooperation: Jan Smaga. Performers: Anna Rutkowska, Wojciech Żera directors: Magda Hueckel & Tomasz Śliwiński camera: Tomasz Śliwiński, Magda Hueckel, Robert Gajzler, Bartosz Zawadka editing: Tomasz Śliwiński scenography, costumes, lighting: Anna Tomczyńska music: Wojtek Blecharz sound design: Mateusz Adamczyk sound on the set: Mateusz Adamczyk, Kuba Kozłowski graphic design: Magda Hueckel color correction: Lunapark MARIA KLASSENBERG | AN EXHIBITION direction and concept of the art performance: Katarzyna Kalwat text and dramaturgy: Beniamin Bukowski cast: Natalia Kalita, Urszula Kiebzak special appearance by: Anda Rottenberg performers: Tomasz Tyndyk, Justyna Wasilewska consecutive interpreting into English language: Artur Zapałowski production managers: Maria Herbich, Magda Igielska production cooperation: Karolina Pająk producers: Małgorzata Cichulska, Magda Igielska, Agata Kołacz, Roman Pawłowski production: TR Warszawa, 2022 director: Natalia Dzieduszycka artistic director: Grzegorz Jarzyna organizer: Capital City of Warsaw The project is produced with the support of The Foundation for Polish-German Cooperation PRODUCTION OF THE EXHIBITION AND THE PERFORMANCES “Maria Klassenberg. An Exhibition.” direction and concept: Katarzyna Kalwat text and dramaturgy: Beniamin Bukowski set design, costumes and lighting: Anna Tomczyńska music: Wojtek Blecharz cooperation: Anna Grzelewska, Joanna Zielińska venue: Raster Gallery in Warsaw date: 14.11.2020 “Mirror – reconstruction of an undocumented performance by Maria Klassenberg” direction and concept: Katarzyna Kalwat text and dramaturgy: Beniamin Bukowski set design, costumes and lighting: Anna Tomczyńska performers: Justyna Wasilewska, Tomasz Tyndyk In the film, fragments of the following works were used: “Maria Klassenberg’s Archive, 1970-1980 (MIRRORING / DRAWING CLASSES / NO / CONSUME / TRANSFER / CHEW / JAM SESSION / NO BODY)” concept, script, development: Aneta Grzeszykowska performers (archive): Anna Rutkowska, Wojciech Żera cooperation: Jan Smaga TR Warszawa would like to thank Joanka Zielińska for the artistic collaboration on te development of the project About The Artist(s) MAGDA HUECKEL: A visual artist, set designer, scriptwriter, creator of documentaries, and theatre photographer. She is a graduate of the Faculty of Painting and Graphic Design of the Fine Arts Academy in Gdańsk. Her works have been presented at over 40 individual and over 60 group exhibitions in Poland and abroad (including Tate Britain in London, Circulation in Paris, Unseen Amsterdam, Vienna Art Fair). Her works can be found in the National Museum in Wrocław and in numerous private collections. Hueckel is the author of “Anima. Pictures from Africa 2005–2013” and “HUECKEL/THEATRE” (nominations for the 2014 and 2016 Photographic Publication of the Year Awards). She has documented a few hundred theatre performances. Hueckel was awarded scholarships by the Minister of Culture and National Heritage and the City of Sopot and she’s a laureate of the Sopot Muse for Young Artists award. From 2002 until 2004 she was a part of the photographic duo known as hueckelserafin, together with Agta Serafin. She is the Chairwoman and co-founder of the CCHS Foundation of Poland “Lift the Curse”, which was awarded EURORDIS Black Pearl Award 2020. Hueckel is the curator and producer of the “Ondinata. Songs for Ondine” project. TOMASZ ŚLIWIŃSKI: a director and scriptwriter. Graduate of the Directing Department at the Warsaw Film School and Feature Development Lab Programme at the Wajda School. His short movie “Our Curse” (2013) has won many prizes at film festivals all over the world and was nominated for the IDA Award granted by the International Documentary Association. He is a laureate of the “Young Poland” Scholarship Programme (2015) awarded by the Minister of Culture and National Heritage and a scholarship awarded by the City of Warsaw (2019). Śliwiński is a member of the Documentary Directors Guild of Poland and the Vice President of CCHS Foundation of Poland “Lift the Curse”. He is the co-curator and producer of a music project “Ondinata. Songs for Ondine”. Magdalena Hueckel and Tomasz Śliwiński often collaborate on the production of films and artistic projects - Magda Hueckel writes the scripts and is the art director, and Tomasz Śliwiński is the director. Their documentary “Our Curse” was nominated for the Academy Award and won a few dozen awards at international festivals. Hueckel and Śliwiński created together a short film “Ondine” (2019) and short film series titled “Plague Chronicles” (2020). The series won the main prize at the DIG IT contest for the best theatrical activities during the COVID-19 pandemic. Their last production was “Stary” - the documentary about the National Stary Theatre in Cracow. KATARZYNA KALWAT: A director, graduate of Psychology Faculty at the Jagiellonian University in Cracow and the Directing Department at the Aleksander Zelwerowicz Academy of Dramatic Art in Warsaw, holder of scholarships granted by the French Government. Her works often originate from archive explorations and focus on researching the mechanisms of memory and postmemory. She directed a performance titled “Holzwege” (produced by TR Warszawa, 2016), which won the Grand Prix at the 22nd National Competition for Staging Contemporary Polish Plays, and “Reykjavik ’74” (The Wilam Horzyca Theatre in Toruń, 2017), which won the Second Prize at the 19th National Festival of Directing Art “Interpretations” in Katowice. The director is interested in processual forms, works that combine various fields of art, and researching the common ground between performance art and theatre. Katarzyna Kalwat has directed many theatre performances including, among others: “Landschaft. Anatomy Lesson” based on Waronika Murek’s text (The Julius Słowacki Theatre in Cracow, 2017), “Grotowski non fiction” created in cooperation with the visual artist Zbigniew Libera (Contemporary Theatre in Wroclaw and the Jan Kochanowski Theatre in Opole, 2019), an opera composed by Wojtek Blecharz, titled “Rechnitz. The Exterminating Angel” based on a drama by the Nobel Prize winner - Elfriede Jelinek (TR Warszawa, 2019), “Staff Only” project created in cooperation with foreign artists living in Poland (coproduced by Biennale Warszawa and TR Warszawa), “Return to Reims” inspired by Didier Eribon’s book and based on Beniamin Bukowski’s script (Nowy Teatr in Warsaw/Teatr Łaźnia Nowa in Cracow, 2020), and “Maria Klassenberg” (TR Warszawa in cooperation with Galeria Raster, 2020). Kalwat is a laureate of “O!Lśnienia 2021” Cultural Award granted by Onet and the City of Cracow. One of her latest performances is titled “Art of Living” and is inspired by Georges Perec’s “Life: A User’s Manual” (The Helena Modrzejewska National Stary Theatre in Cracow, 2022). ANETA GRZESZYKOWSKA: Born 1974, visual artist. She uses photography and video, focusing on their performative aspect. The leitmotif of her work is the analysis of the processes of self-creation, one of the key themes of art and a fundamental issue for the condition of today’s post-media society. Aneta Grzeszykowska examines the possibility of escaping from identity-shaping cultural and artistic stereotypes. She deconstructs her own image and manipulates it, eventually reaching for its sculptural substitutes. She thus comes closer to the conclusion that self-creation is merely another way of struggling against the mortal nature of the body. Aneta Grzeszykowska has participated in a number of important international exhibitions, such as the Venice Biennale (2022), the Berlin Biennale (2006) and La Triennale in Paris (2012). She has exhibited, among others, at the New Museum and Sculpture Center in New York, Contemporary Art Museum in St. Louis, the Folkwang Museum in Essen and the Museum of Modern Art in Warsaw. Her solo exhibition at Zachęta National Gallery of Art in Warsaw earned her the renowned Polityka’s Passport award (2014). Her works are held in prestigious museum collections, including: Center Pompidou in Paris, Salomon R. Guggenheim Museum in New York, Fotomuseum Winterthur, Museum of Modern Art in Warsaw and Museum of Art in Łódź. She is affiliated with Galeria Raster in Warsaw and Lyles & King in New York. She runs the Performative Photography studio at the Academy of Art in Szczecin. Get in touch with the artist(s) and follow them on social media TR Warszawa international@trwarszawa.pl instagram.com/trwarszawa facebook.com/trwarszawa www.trwarszawa.pl Magda Hueckel, Tomasz Śliwiński hueckel.com.pl instagram.com/magdalena_hueckel instagram.com/tomeon Katarzyna Kalwat instagram.com/katarzyna2193 Aneta Grzeszykowska instagram.com/anetagrzeszykowska https://secondaryarchive.org/artists/aneta-grzeszykowska/ Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2024 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here. "Nightshades" - Veronica Viper Ellen Callaghan Dancing Pina FLorian Heinzen-Ziob Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Living Objects in Black Jacqueline Wade ORESTEIA Carolin Mader Schlingensief – A Voice that Shook the Silence Bettina Böhler The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Wo/我 Jiemin Yang "talk to us" Kirsten Burger Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter MUSE Pete O'Hare/Warehouse Films QUEENDOM Agniia Galdanova Snow White Dr.GoraParasit The Making of Pinocchio Cade & MacAskill Women of Theatre, New York Juney Smith BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller I AM NOT OK Gabrielle Lansner Making of The Money Opera Amitesh Grover Red Day Besim Ugzmajli The Books of Jacob Krzysztof Garbaczewski The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula next...II (Mali/Island) Janne Gregor Chinoiserie Redux Ping Chong Festival of the Body on the Road H! Newcomer “H” Sokerissa! Interstate Big Dance Theater / Bang on a Can Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 The End Is Not What I Thought It Would Be Andrea Kleine The Utopians Michael Kliën and En Dynamei Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) GIANNI Budapesti Skizo, Theater Tri-Bühne Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre My virtual body and my double Simon Senn / Bruno Deville SWING AND SWAY Fernanda Pessoa and Chica Barbosa The Great Grand Greatness Awards Jo Hedegaard WHO IS EUGENIO BARBA Magdalene Remoundou

Is it possible for a room to be empty when your memories keep breaking through the walls? Alison Clancy’s drone-pop-psych-Americana piece So Brutal It Feels Like Home puts you in a liminal space where ghosts ricochet off every surface. This is about the same thing that makes wild dogs howl. Three dancers, Clancy’s live ethereal vocals and electric guitar, and multi-spectrum lighting and shadows transport us from ecstatic vistas to the bottom of the well. Landing somewhere between a rock show / dance concert / performance installation the work is haunting in its simple brutality, emotional intimacy and physical virtuosity. PRELUDE Festival 2023 DANCE So Brutal It Feels Like Home Alison Clancy Dance, Music English 30 min 8:00PM EST Friday, October 13, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Is it possible for a room to be empty when your memories keep breaking through the walls? Alison Clancy’s drone-pop-psych-Americana piece So Brutal It Feels Like Home puts you in a liminal space where ghosts ricochet off every surface. This is about the same thing that makes wild dogs howl. Three dancers, Clancy’s live ethereal vocals and electric guitar, and multi-spectrum lighting and shadows transport us from ecstatic vistas to the bottom of the well. Landing somewhere between a rock show / dance concert / performance installation the work is haunting in its simple brutality, emotional intimacy and physical virtuosity. This piece was created with support from Susannah Lee Griffee and the NY State Dance Force Choreogrpaher's Initiative Award Content / Trigger Description: Dreaming of beauty and collective catharsis, Alison Clancy designs projects bridging between worlds... Haunting solo music performances weave tapestries of electric guitar into expansive, brooding drone-psyche Americana. Incantatory vocals reveal delicate vulnerability and gritty volatility. Alison summons ghosts from machines. Performances often incorporate expressionistic choreography in collaboration with virtuosic dancers. Alison's choreographic work is informed by a deep relationship with classical ballet, but subverts technique in exploration of primordial sensuality. Illuminating the authority of each body's authentic story, the essence of performers are invited to burn and melt the form. Alison's approach is equal parts visceral and visual, often incorporating cinematic custom lighting and video installations. 2022 recipient of the New York State Dance Force Choreographer's Initiative Award. www.alisonclancy.com https://www.instagram.com/_alison_clancy_/ https://www.facebook.com/ClancyMedia Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

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

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Watch Peak Hour in the House by Blue Ka Wing at the Segal Film Festival on Theatre and Performance 2025. 《Peak Hour in the house》 illustrates a solitary woman who, while "enjoying" her private space, faces sudden surges of anxiety and learns to coexist with them. In the midnight, she enjoys her me-time, savoring moments of solitude. However, this is precisely when the hidden anxieties within her are most likely to visit. In the stillness of the night, the doorbell rings, akin to a nightmare striking during peaceful sleep. Gradually, she attempts to unveil her body like a diary, page by page. She uncovers not only the chaotic thoughts in her brain but also the internal organs carrying her personal history. The accumulated impurities over the years require her to untangle and digest them herself. By courageously confronting the sources of her anxiety and becoming someone capable of embracing negative energy, she gains the strength to make positive changes. Official selection of 《Peak Hour in the House》 - FIFTH WALL FEST Edition V (New Manila, Philippines) - Brighton Screendance Festival 2024 (Brighton, United Kingdom) - Together We Dance ! A 30-Year Journey: Dance Film Nights - PLUS by Hong Kong Dance Alliance (Hong Kong) - FIELDS by The Place and Studio Wayne McGregor (London, United Kingdom) - SHAPE 2 (Atlanta, USA) - The 5th Edition of the ROLLOUT Dance Film Festival (Macao, China) - The 43rd International Festival of Films on Art (FIFA) (Québec, Canada) - Online platform ARTS.FILMS (Québec, Canada) - Cinedans FEST '25 (Amsterdam, Netherlands) - 2025 92NY Future Dance Festival (New York, United States) Award of 《Peak Hour in the House》 - Special Mentions from The 5th Edition of the ROLLOUT Dance Film Festival (Macao, China). The Martin E. Segal Theater Center presents Peak Hour in the House At the Segal Theatre Film and Performance Festival 2025 A film by Blue Ka Wing Screening Information This film will be screened in-person at The Segal Centre on Saturday May 17th at 11am (as part of the Short Film program) and also be available to watch online on the festival website till June 8th 2025. RSVP Please note there is limited seating available for in-person screenings at The Segal Centre, which are offered on a first-come first-serve basis. You may RSVP above to get a reminder about the Segal Film Festival in your inbox. Country United Kingdom Language No Dialogue Running Time 7:19 minutes Year of Release 2024 About The Film About The Retrospective 《Peak Hour in the house》 illustrates a solitary woman who, while "enjoying" her private space, faces sudden surges of anxiety and learns to coexist with them. In the midnight, she enjoys her me-time, savoring moments of solitude. However, this is precisely when the hidden anxieties within her are most likely to visit. In the stillness of the night, the doorbell rings, akin to a nightmare striking during peaceful sleep. Gradually, she attempts to unveil her body like a diary, page by page. She uncovers not only the chaotic thoughts in her brain but also the internal organs carrying her personal history. The accumulated impurities over the years require her to untangle and digest them herself. By courageously confronting the sources of her anxiety and becoming someone capable of embracing negative energy, she gains the strength to make positive changes. Official selection of 《Peak Hour in the House》 - FIFTH WALL FEST Edition V (New Manila, Philippines) - Brighton Screendance Festival 2024 (Brighton, United Kingdom) - Together We Dance ! A 30-Year Journey: Dance Film Nights - PLUS by Hong Kong Dance Alliance (Hong Kong) - FIELDS by The Place and Studio Wayne McGregor (London, United Kingdom) - SHAPE 2 (Atlanta, USA) - The 5th Edition of the ROLLOUT Dance Film Festival (Macao, China) - The 43rd International Festival of Films on Art (FIFA) (Québec, Canada) - Online platform ARTS.FILMS (Québec, Canada) - Cinedans FEST '25 (Amsterdam, Netherlands) - 2025 92NY Future Dance Festival (New York, United States) Award of 《Peak Hour in the House》 - Special Mentions from The 5th Edition of the ROLLOUT Dance Film Festival (Macao, China) About The Artist(s) https://drive.google.com/file/d/17Gegq0SmwG6MQfWj7imX2CZ5cSxTaZsU/edit Get in touch with the artist(s) bluekawing＠hotmail.com and follow them on social media https://www.facebook.com/bluekawing/, https://www.instagram.com/bluekawing/, https://www.youtube.com/@danzrainbow Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. Boulba, Aminata Labor, Lucie Brux Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film PACI JULIETTE ROUDET Radical Move ANIELA GABRYEL Funambulism, Hanging by a Thread Jean-Baptiste Mathieu This is Ballroom Juru and Vitã Reas Lola Arias The Jacket Mathijs Poppe Pidikwe Caroline Monnet Resilience Juan David Padilla Vega The Brink of Dreams Nada Riyadh, Ayman El Amir Jesus and The Sea Ricarda Alvarenga Grand Theft Hamlet Sam Crane & Pinny Grylls Theater of War Oleh Halaidych Skywalk Above Prague Václav Flegl, Jakub Voves Somber Tides Chantal Caron / Fleuve Espace Danse

Watch Theater of War by Oleh Halaidych at the Segal Film Festival on Theatre and Performance 2025. Since the first hours of the full-scale Russian aggression, the collective of theatrical workers in Ukraine faces a new reality of war and turns the theater into a shelter for refugees and a center of humanitarian help. Actors, directors, and art managers get new social roles. Amidst the crisis, they live their young lives and find a place for art, joy, and mutual support.. The Martin E. Segal Theater Center presents Theater of War At the Segal Theatre Film and Performance Festival 2025 A film by Oleh Halaidych Screening Information This film will be screened in-person at The Segal Centre on Saturday May 17th at 11am (as part of the Short Film Program) and also be available to watch online on the festival website till June 8th 2025. RSVP Please note there is limited seating available for in-person screenings at The Segal Centre, which are offered on a first-come first-serve basis. You may RSVP above to get a reminder about the Segal Film Festival in your inbox. Country Ukraine Language Ukrainian Running Time 40 minutes Year of Release 2025 About The Film About The Retrospective Since the first hours of the full-scale Russian aggression, the collective of theatrical workers in Ukraine faces a new reality of war and turns the theater into a shelter for refugees and a center of humanitarian help. Actors, directors, and art managers get new social roles. Amidst the crisis, they live their young lives and find a place for art, joy, and mutual support. About The Artist(s) OLEH HALAIDYCH Documentary filmmaker and neuroscientist based in Kyiv, Ukraine. Graduated from the Sergiy Bukovsky documentary film program (Kyiv, 2021) and the cinematography workshop at the Kharkiv Academy of Visual Arts (Kharkiv, 2019). Holds MS in Applied Physics and Mathematics (Moscow Institute of Physics and Technology, 2008-2014) and Ph.D. in biophysics (Leiden University, 2014-2018). OLHA TUHARINOVA Documentary film director and producer based in Kyiv, Ukraine. Holds an MA in architecture (Kyiv National University of Construction and Architecture, Kyiv, 2018). She entered the world of documentary cinema in 2017 as a programmer for the International Festival of Film and Urbanism “86”. Directed and produced the documentary web series “Her Place” (2020), dedicated to female representatives of professions previously prohibited for women in Ukraine. She is pursuing a DOC NOMADS Erasmus Mundus joint master’s degree. Get in touch with the artist(s) halaidych.oleh@gmail.com / olhatuha@gmail.com / LLC KSHTALT PRODUCTIONS and follow them on social media halaidych.oleh@gmail.com , https://vimeo.com/olehhalaidych, olhatuha@gmail.com , https://vimeo.com/olhatuha, Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. Boulba, Aminata Labor, Lucie Brux Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film PACI JULIETTE ROUDET Radical Move ANIELA GABRYEL Funambulism, Hanging by a Thread Jean-Baptiste Mathieu This is Ballroom Juru and Vitã Reas Lola Arias The Jacket Mathijs Poppe Pidikwe Caroline Monnet Resilience Juan David Padilla Vega The Brink of Dreams Nada Riyadh, Ayman El Amir Jesus and The Sea Ricarda Alvarenga Grand Theft Hamlet Sam Crane & Pinny Grylls Theater of War Oleh Halaidych Skywalk Above Prague Václav Flegl, Jakub Voves Somber Tides Chantal Caron / Fleuve Espace Danse

The Segal Center Film Festival on Theatre and Performance (FTP) is an annual event showcasing films drawn from the world of theatre and performance. The festival presents experimental, emerging, and established theatre artists and filmmakers from around the world to audiences and industry professionals. 2024 Festival See the full lineup of films at this year's festival below. A selection of films will be screened in-person at the Martin E. Segal Theatre Center whilst others will be available to watch online May 16th onwards, for a period of three weeks. SEE IN-PERSON SCHEDULE Online, In-Person "Nightshades" - Veronica Viper Ellen Callaghan Online Conference of the Absent Rimini Protokoll (Haug / Kaegi / Wetzel) / Film By Expander Film (Lilli Kuschel and Stefan Korsinsky) Online Festival of the Body on the Road H! Newcomer “H” Sokerissa! Online / In-Person I AM NOT OK Gabrielle Lansner Online, In-Person MUSE Pete O'Hare/Warehouse Films Online / In-Person ORESTEIA Carolin Mader In-Person SWING AND SWAY Fernanda Pessoa and Chica Barbosa Online The End Is Not What I Thought It Would Be Andrea Kleine Online The Roll Call:The Roots to Strange Fruit Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula Online Women of Theatre, New York Juney Smith Online "talk to us" Kirsten Burger In-Person Dancing Pina FLorian Heinzen-Ziob Online GIANNI Budapesti Skizo, Theater Tri-Bühne Online, In-Person Interstate Big Dance Theater / Bang on a Can Online / In-Person Making of The Money Opera Amitesh Grover In-Person QUEENDOM Agniia Galdanova Online, In-Person Schlingensief – A Voice that Shook the Silence Bettina Böhler Online The Great Grand Greatness Awards Jo Hedegaard Online The Utopians Michael Kliën and En Dynamei Online next...II (Mali/Island) Janne Gregor Online BLOSSOMING - Des amandiers aux amandiers Karine Silla Perez & Stéphane Milon Online / In-Person Die Kinder der Toten Nature Theater of Oklahoma:Kelly Copper and Pavol Liska In-Person Genocide and Movements Andreia Beatriz, Hamilton Borges dos Santos, Luis Carlos de Alencar Online Juggle & Hide (Seven Whatchamacallits in Search of a Director) Wichaya Artamat/ For What Theatre Online, In-Person Maria Klassenberg Magda Hueckel, Tomasz Śliwiński Online / In-Person Red Day Besim Ugzmajli Online Snow White Dr.GoraParasit In-Person The Hamlet Syndrome Elwira Niewiera & Piotr Rosolowski Online / In-Person WHO IS EUGENIO BARBA Magdalene Remoundou Online / In-Person Chinoiserie Redux Ping Chong In-Person ELFRIEDE JELINEK - LANGUAGE UNLEASHED Claudia Müller Online Hans-Thies Lehmann – Postdramatic Theater Christoph Rüter Online Living Objects in Black Jacqueline Wade Online, In-Person My virtual body and my double Simon Senn / Bruno Deville Online / In-Person Revolution 21/ Rewolucja 21 Martyna Peszko and Teatr 21 Online The Books of Jacob Krzysztof Garbaczewski Online / In-Person The Making of Pinocchio Cade & MacAskill Online / In-Person Wo/我 Jiemin Yang In-Person Screenings at the Segal Center Find it on Google Maps (365 5th Ave, New York) Thursday May 16 6:00 -7:40 PM Queendom by Agniia Galdanova 7:50 – 8:50 PM Maria Klassenberg by Tomasz Śliwiński and Magda Hueckel (World Premiere) RSVP Day 1 Friday May 17 6:00 – 7:00 PM Genocide and Movements by Andreia Beatriz, Hamilton Borges dos Santos and Luis Carlos de Alencar 7:00 – 8:00 PM Swing & Sway by Fernanda Pessoa and Chica Barbosa 8:00 – 9:30 PM Making of Pinocchio by Rosana Cade and Ivor MacAskill RSVP Day 2 Saturday May 18 11:05 AM – 12:05 AM Who is Eugenio Barba by Magdalene Remoundou 12:10 - 2:15 PM Schlingensief: A Voice That Shook the Silence by Frieder Schlaich 2:20 - 3:50 PM ELFRIEDE JELINEK - LANGUAGE UNLEASHED by Claudia Muller 4:00 – 5:51 PM Dancing Pina by Florian Heinzen-Ziob RSVP Day 3 Monday May 20 2pm – 3:30 PM Die Kinder der Toten by Kelly Copper & Pavol Liška - Nature Theater of Oklahoma 3:35 – 5:20 PM Viewing of selected short films from the festival lineup Red Day by Besim Ugzmajli (15 Mins), Interstate by Big Dance Theater / Bang on a Can (6 Mins), Wo/我 by Jiemin Yang (11 Mins), I AM NOT OK by Gabrielle Lansner (12 Mins), MUSE by Pete O'Hare / Warehouse Films (10 Mins), ORESTEIA by Carolin Mader (6 Min), "Nightshades" - Veronica Viper by Ellen Callaghan (6 Mins), Snow White by Dr.GoraParasit (18 Mins), The Roll Call:The Roots to Strange Fruit by Jonathan McCrory / National Black Theatre/ All Arts/ Creative Doula (23 Mins) 5:20 – 6:40 PM Chinoiserie Redux by Ping Chong, Kristina Varshavskaya 6:45 – 7:45 PM Revolution 21 by Martyna Peszko (US Premiere) 7:50 – 9:30 PM The Hamlet Syndrome by Elwira Niewiera and Piotr Rosolowski RSVP Day 4 About The Festival The Segal Center Film Festival on Theatre and Performance (FTP) is an annual event showcasing films drawn from the world of theatre and performance. The 2024 festival is co-curated by Frank Hentschker and Tomek Smolarski, and supported by Gaurav Singh Nijjer on digital design. The festival presents experimental, emerging, and established theatre artists and filmmakers from around the world to audiences and industry professionals. From its inaugural edition in 2015 to its present-day hybrid avatar, The Segal Film Festival for Theatre and Performance (FTP) has served as a platform for recorded works that span the length and breadth of the performing arts. Festival Founder and Executive Director of the Martin E. Segal Theater Center, Frank Hentschker shares his inspiration for creating the festival: “Film and digital media are an integral part of theatre and performance. I am surprised that there is not a film festival out there right now focusing on theatre and performance. I thought ‘why not create one’?” In the time before Corona, the Segal Film Festival had evolved into the premier US event for new film and video work focusing on theatre and performance. Its mission was to invite experimental and established theatre makers to present work created for the screen – not filmed archival recordings – to audiences and industry professionals from around the world. Now, after a year and a half of digital and hybrid theatre offerings, the festival must take on a new meaning. The festival has held on to its mission of being a free and open-to-all event accessible to everyone. The 7th edition of the festival was held digitally in March 2022, and featured 80 films from 30 countries. For queries, feedback and any more information get in touch with us at segalfilmfestival@gmail.com Meet The Team Tomek Smolarski Co-Curator Tomek Smolarski is Film and Performing Arts Curator at the Polish Cultural Institute New York, with over 20 years of experience in production of international cultural events and he has extensive knowledge in cultural diplomacy. He initiated and executed projects with partners all over the US such as BAM, MoMA, Film at Lincoln Center, Museum of the Moving Image, Anthology Film Archives, NYU Skirball, Abrons Arts Center, Martin E. Segal Theater Center, La Mama Theater, Joe's Pub, RedCat, Odyssey Theater, Berkley Arts Museum and Pacific Film Archives, Chicago Cultural Center and many others. Gaurav Singh Nijjer Web and Digital Producer Gaurav Singh Nijjer is a theatre-maker, creative technologist and designer whose artistic works explore technology and media in live performance. He is one half of the Indian performing arts collective Kaivalya Plays, and also works as a freelance artist and arts manager with collectives in India and abroad, currently as Digital and Web Producer at the Martin E. Segal Theater Center at the Graduate Centre CUNY. He is a former German Chancellor Fellow and a Chevening scholar. He trained at the Royal Central School of Speech and Drama in London. Apart from theatre, Gaurav also works as a freelance marketing, design and creative consultant for diverse organizations. Frank Hentschker Co-Curator Frank Hentschker, who holds a Ph.D. in theatre from the now legendary Institute for Applied Theatre Studies in Giessen, Germany, came to the Graduate Center in 2001 as program director for the Graduate Center’s Martin E. Segal Theatre Center and was appointed to the central doctoral faculty in theatre in 2009. Currently executive director and director of programs at the Segal Center, Hentschker has transformed the center into the nation’s leading forum for public programming in international and U.S. theatre and theatre studies; each year, he curates and produces more than forty events—staged readings, lecture-demonstrations, symposia, works-in-progress, and conversations with theatre scholars, theatrical luminaries, and emerging voices in the international, American, and New York theatre scenes. Among the vital events and series he founded at the Segal Center are the World Theatre Performance series; the annual fall PRELUDE festival, which features more than twenty New York–based theatre companies and playwrights; and the PEN World Voices Playwrights Series. Hentschker also led CUNY’s nineteen performing arts centers in founding the CUNY–Performing Arts Consortium (C–PAC), producing the consortium’s first joint festival in 2009. Hentschker edited the MESTC publications Jan Fabre: I Am A Mistake, Seven Works for the Theatre (2009) and New Plays from Spain (2013), and he served as president of the board of PAJ: A Journal of Performance and Art from 2005 to 2009. Before coming to the Graduate Center, Hentschker founded and directed DISCURS, the largest European student theatre festival existing today; he acted as Hamlet in Heiner Müller’s Hamletmaschine, directed by the playwright; performed in the Robert Wilson play The Forest (music by David Byrne); and worked as an assistant for Robert Wilson for many years. Producer, General Operations Manager Teresa Soraka Next Generation Fellow Nurit Chinn

Watch Grand Theft Hamlet by Sam Crane & Pinny Grylls at the Segal Film Festival on Theatre and Performance 2025. With theaters shut during the COVID-19 pandemic, two jobless actors, Sam and Mark, are uncertain about their futures—finding solace in the virtual chaos of Grand Theft Auto Online. Desperate for purpose, they decide to stage Shakespeare’s Hamlet in the unpredictable world of their favorite game.. The Martin E. Segal Theater Center presents Grand Theft Hamlet At the Segal Theatre Film and Performance Festival 2025 A film by Sam Crane & Pinny Grylls Screening Information This film will be screened in-person at The Segal Centre on Saturday May 17th at 1:25pm. RSVP Please note there is limited seating available for in-person screenings at The Segal Centre, which are offered on a first-come first-serve basis. You may RSVP above to get a reminder about the Segal Film Festival in your inbox. Country USA Language English Running Time 89 minutes Year of Release 2024 About The Film About The Retrospective With theaters shut during the COVID-19 pandemic, two jobless actors, Sam and Mark, are uncertain about their futures—finding solace in the virtual chaos of Grand Theft Auto Online. Desperate for purpose, they decide to stage Shakespeare’s Hamlet in the unpredictable world of their favorite game. About The Artist(s) PINNY GRYLLS CO-DIRECTOR After founding Birds Eye View Film Festival, Grylls became an award-winning documentary and commercials director. Her first short documentary, Peter And Ben, won awards at Aspen, London Short Film Festival, and SXSW. Since then she has specialized in making documentaries about theatre, opera and dance. Films include The Hour (National Theatre/BBC), Becoming Zerlina (The Royal Opera House), Who Do You Think You Were (Channel 4), Voytek The Soldier Bear (BBC), Thankyou Women (The Guardian), and Skin Hunger (Arts Council/ Dante or Die). She was a contributing filmmaker to Grierson-nominated The Street bought by Amazon and is currently developing her first fiction feature Hear My Voice with BFI funding. Commercials include Dove, Aldi ‘Like series’ and British Gas. Grand Theft Hamlet will be her debut documentary feature. Pinny studied Archaeology and Anthropology at Oxford University and has worked for over a decade as a senior ethnographic researcher for Ipsos Mori and the UK government through Policy Lab. She was also an Associate Lecturer in ethnographic filmmaking in the Anthropology department at University College London. Other teaching work includes the Poplar Film School, Central Film School, University of the Creative Arts London, Creative Futures, and Here On Earth – an International collaborative environmental documentary project made online in lock down by teenagers in Taiwan, London and New York. She is a proud member of the hard of hearing/deaf community and is learning British Sign Language. SAM CRANE CO-DIRECTOR Crane is an award-winning machinima video artist and actor. He is currently playing Harry Potter in the West End production of Harry Potter and the Cursed Child and can soon be seen as Jacques-Louis David in Ridley Scott’s forthcoming film Napoleon for Sony Pictures and Apple TV. In a theatre career spanning 20 years, he has been critically acclaimed for his performances at the National Theatre, Shakespeare’s Globe, in the West End and on Broadway. He starred as Farinelli in Farinelli And The King alongside Mark Rylance, and Winston Smith in Robert Icke’s multi-award-winning 1984. His machinima film We Are Such Stuff As Dreams Are Made On won the Critics’ Choice award at Milan Machinima Festival, First Prize for Video Art at The Athens Digital Arts Festival, was shortlisted for the Lumen Prize and long-listed for the Aesthetica Art Prize. He is a PhD candidate at York University's School of Arts and Creative Technologies and a member of the PEERS programme of artistic researchers at Zurich University of the Arts. He read Classics as an Undergraduate at Oxford University and trained as an actor at LAMDA where he won the Nicholas Hytner scholarship. Get in touch with the artist(s) cwells@mubi.com and follow them on social media N/A Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. Boulba, Aminata Labor, Lucie Brux Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film PACI JULIETTE ROUDET Radical Move ANIELA GABRYEL Funambulism, Hanging by a Thread Jean-Baptiste Mathieu This is Ballroom Juru and Vitã Reas Lola Arias The Jacket Mathijs Poppe Pidikwe Caroline Monnet Resilience Juan David Padilla Vega The Brink of Dreams Nada Riyadh, Ayman El Amir Jesus and The Sea Ricarda Alvarenga Grand Theft Hamlet Sam Crane & Pinny Grylls Theater of War Oleh Halaidych Skywalk Above Prague Václav Flegl, Jakub Voves Somber Tides Chantal Caron / Fleuve Espace Danse

Watch Moi-même by Mojo Lorwin/Lee Breuer at the Segal Film Festival on Theatre and Performance 2025. In 1968 Paris, Lee Breuer, along with future members of the legendary downtown experimental theater company, Mabou Mines, shot an unscripted, silent satire following a thirteen-year-old boy named Kevin (Kevin Mathewson) attempting to make a film against the backdrop of the May student uprising. Abandoned as unfinished, the project was resurrected by Breuer’s son, filmmaker Mojo Lorwin, who began restoring and re-imagining the unfinished film in the last year of his father’s life Moi-même features a cameo by Jean-Luc Godard, footage of the student protesters outside the Sorbonne, and early performances from several of the original members of Mabou Mines including Ruth Maleczech, David Warrilow, and Fred Neumann, also known for their interpretations of Samuel Beckett’s work. Faced with hours of unedited silent film (Breuer’s original intention had been to dub the film later), Lorwin spent three years writing a script, editing the picture, and working with a number of voice actors, musicians, and sound professionals to create a feature film out of the raw footage. A collaboration between father and son across half a century, Moi-même is both a lost 60s arthouse film and a new experimental film in its own right, which uses the original footage to tell a story about the political and artistic legacy of the 60s in our time and to explore the meaning of abandoned projects.. The Martin E. Segal Theater Center presents Moi-même At the Segal Theatre Film and Performance Festival 2025 A film by Mojo Lorwin/Lee Breuer Screening Information This film will be screened in-person at Anthology Film Archives (32 Second Avenue, NY 10003) on Saturday May 17th at 3pm. It will be followed by a Q&A with Mojo Lorwin and Kevin Mathewson, moderated by Frank Hentschker. RSVP Please note this film has a ticketed entry and is being screened at Anthology Film Archive. Click on the button above to visit the AFA website to reserve your seats. Country USA, France Language English, French Running Time 65 minutes Year of Release 1968/2024 About The Film About The Retrospective In 1968 Paris, Lee Breuer, along with future members of the legendary downtown experimental theater company, Mabou Mines, shot an unscripted, silent satire following a thirteen-year-old boy named Kevin (Kevin Mathewson) attempting to make a film against the backdrop of the May student uprising. Abandoned as unfinished, the project was resurrected by Breuer’s son, filmmaker Mojo Lorwin, who began restoring and re-imagining the unfinished film in the last year of his father’s life Moi-même features a cameo by Jean-Luc Godard, footage of the student protesters outside the Sorbonne, and early performances from several of the original members of Mabou Mines including Ruth Maleczech, David Warrilow, and Fred Neumann, also known for their interpretations of Samuel Beckett’s work. Faced with hours of unedited silent film (Breuer’s original intention had been to dub the film later), Lorwin spent three years writing a script, editing the picture, and working with a number of voice actors, musicians, and sound professionals to create a feature film out of the raw footage. A collaboration between father and son across half a century, Moi-même is both a lost 60s arthouse film and a new experimental film in its own right, which uses the original footage to tell a story about the political and artistic legacy of the 60s in our time and to explore the meaning of abandoned projects. About The Artist(s) Lee Breuer (1937-2021) was an experimental theater writer and director and co-founder of the company Mabou Mines. His most acclaimed works include "The Shaggy Dog Animation"(1978), "The Gospel at Colonus" (1983), "Peter and Wendy" (1996), and "Mabou Mines DollHouse" (2004). Mojo Lorwin (1984-) is a filmmaker, film professor, and former political organizer. His 2019 short Summer in the City is a dream logic black comic exploration of climate change which won the “Best Brooklyn Project” award at the Brooklyn Film Festival in 2020. Get in touch with the artist(s) mojolorwin@gmail.com and follow them on social media moimememovie.com, https://www.instagram.com/mojolorwin/ Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. Boulba, Aminata Labor, Lucie Brux Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film PACI JULIETTE ROUDET Radical Move ANIELA GABRYEL Funambulism, Hanging by a Thread Jean-Baptiste Mathieu This is Ballroom Juru and Vitã Reas Lola Arias The Jacket Mathijs Poppe Pidikwe Caroline Monnet Resilience Juan David Padilla Vega The Brink of Dreams Nada Riyadh, Ayman El Amir Jesus and The Sea Ricarda Alvarenga Grand Theft Hamlet Sam Crane & Pinny Grylls Theater of War Oleh Halaidych Skywalk Above Prague Václav Flegl, Jakub Voves Somber Tides Chantal Caron / Fleuve Espace Danse

Do we meld into our pets? How long does that take? After that...how long do we have. Does it matter? Let's find out PRELUDE Festival 2023 PERFORMANCE How Do I? William Burke Theater English. Dog 30 minutes 8:00PM EST Thursday, October 12, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Do we meld into our pets? How long does that take? After that...how long do we have. Does it matter? Let's find out Content / Trigger Description: There will be live dogs on leashes at the performance Followed by a short discussion moderated by Jackie Sibblies Drury. Performed by: Carolina Dô Kedian Keohan Gertie Stitch Written by William Burke WILLIAM BURKE is a playwright and director living in Brooklyn. His productions include: the food was terrible (The Bushwick Starr), Is it Supposed to Last?(Playco), Help Me Draw Your Feelings(Brick Aux) PIONEERS!#goforth (JACK), COMFORT DOGS: Live from the Pink House (JACK), FURRY! (JACK) FURRY!/LA FURIA!(The Bushwick Starr), Untitled American Flag Craft Project(The Brick), Variations on The Main(JACK). With Target Margin Theater: I Made a Mistake, EXPLODITY! and DAY!Night?fuck... (JACK and The Stahl Center at Stoney Brook University) He has developed his plays/presented readings at NACL, NYTW, The Black Swan Lab (Oregon Shakespeare Festival), All For One, The Bushwick Starr, Little theatre (Dixon Place), The Prelude Festival (CUNY Grad center) and CATCH. William studied playwriting at Brooklyn College with Mac Wellman, Anne Washburn and Erin Courtney. He is the head curator for The Starr Reading Series at the Bushwick Starr, Co-Chair of the Soho Rep Writer/Director Lab and co-curator for Little Theatre at Dixon Place(2017-2019). He has taught at Cornish College of the Arts and Stoney Brook University. His podcast series PEP TALKS FOR A NEW WORLD is available on all major platforms. Williamburke.net Instagram: @williamlostit Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

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Brooklyn is Not a Sacrifice Zone is a live theater community-engaged performance that takes audience along the banks of the Newtown Creek Nature Walk hearing the stories and visions of local residents and activists who dream to topple their neighbor, a giant fracked gas depot. We imagine what the landscape could be if National Grid's site was decommissioned and the land rehabilitated. In addition, it is also an audio archive that collects the stories of those residents, creating an online forum where others can listen and learn about the challenges in living alongside fossil fuel infrastructure and industrial wasteland. PRELUDE Festival 2023 PERFORMANCE Brooklyn is Not a Sacrifice Zone (Day 1) Al Límite Collective Theater, Music, Performance Art English 30 minutes 5:00PM EST Saturday, October 28, 2023 Newtown Creek Nature Walk, Brooklyn, NY 11222, United States Free Entry, Open To All With predictions of a Nor'easter storm predicted for 21/22 Oct weekend, performances of "Brooklyn Is Not a Sacrifice Zone" will take place the following weekend on Saturday October 28th and Sunday October 29th both at 5pm. Audiences will meet at the end of Paidge Ave, near 59 Paidge Ave. in Greenpoint -- at the entrance to the Newtown Creek Nature Walk. Brooklyn is Not a Sacrifice Zone is a live theater community-engaged performance that takes audience along the banks of the Newtown Creek Nature Walk hearing the stories and visions of local residents and activists who dream to topple their neighbor, a giant fracked gas depot. We imagine what the landscape could be if National Grid's site was decommissioned and the land rehabilitated. In addition, it is also an audio archive that collects the stories of those residents, creating an online forum where others can listen and learn about the challenges in living alongside fossil fuel infrastructure and industrial wasteland. Newtown Creek Nature Walk that begins next to this address at the end of Paidge Avenue in Greenpoint, Brooklyn: 59 Paidge Ave Brooklyn, NY 11222 United States Supported by Brooklyn Arts Council Creative Equations Fund Content / Trigger Description: Descriptions of illness caused by industrial pollution Al Límite Collective was founded in 2020 by nine core members, formerly of The Living Theatre, after years of creating collaboratively. Under The Living, we began to develop our unique focus on cross-border exchange, most notably in Mexico, in the heart of the migrant crisis where our namesake (At The Limit) was born. Al Límite Collective functions as a non-hierarchical structure, sharing artistic leadership, that strategically implements a fluid devising process inviting workshop participants to become active collaborators. This method of creation has allowed our performances to continuously evolve and transform, serving as a channel for dialogue and instantaneous connections that transcend language barriers and geographical borders. Al Límite Collective has traveled across the world, from Latin America to the Middle East, from Europe to Asia, to collaborate with artists, community members, refugee and immigrant populations in workshop intensives to devise original performances centered on local social justice issues. ELECTRIC AWAKENING, which premiered in São Paolo in 2017, marks the incubation for the creation of Al Límite Collective. The production continued evolving into an open vessel/workshop to engage with more participants from different fields. In 2019, the production was brought to Mexico as part of the AL LÍMITE TOUR, along with an experimental art festival in Tijuana addressing the injustices of the US immigration system and mass incarceration of immigrant families and asylum seekers at the border. In the summer of 2023 a few members of Al Límite Collective brought Electric Awakening to Athens, Greece and taught the show to local and international performers in self-organized space, Embros Theater produced with Institute for Experimental Arts and at the International Festival of Making Theater. As the world went into lockdown due to the pandemic, Al Límite Collective initiated a multi-media call and response art project, THE LIMINAL ARCHIVE, which welcomed individuals to contribute their creative responses to the tumultuous moment. In the summer of 2020, Al Límite Collective created a site-specific street performance, BROOKLYN IS NOT A SACRIFICE ZONE, to draw attention to the dangerous North Brooklyn fracked gas pipeline running through BIPOC and low income communities, inspired by dozens of interviews with impacted locals and performed directly in the construction sites along the pipeline route. The collective also began staging mobile performances on a four-person operated bicycle platform for spontaneous pop-up theater gliding by passersby for a moment to witness. One such performance included the construction of a cage that mirrored ICE prison cells, which was biked out to an ICE detention center in Sunset Park, Brooklyn. In November 2020, invited by White Box - Harlem, Al Límite Collective staged a live immersive reading of Camus’ REVOLT IN ASTURIAS as the response to the unsettling election of the United States. In March 2021, we staged Quiet Us/ Riot Us in the streets and on rooftops throughout Brooklyn as a meditation on grief. In June 2021 we received the Silver Award for The Hear Now Festival. July 2021 we performed a live in person version of Liminal Archive which received rave reviews at the New Ohio Theatre's Ice Factory Festival. www.allimitecollective.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

Watch Somber Tides by Chantal Caron / Fleuve Espace Danse at the Segal Film Festival on Theatre and Performance 2025. Somber Tides is a cry from the species, startled into survival against the elements. One last breath before being trampled by the Earth or maybe conversely a battle to wage against winds and tides clutching on before extinction.. The Martin E. Segal Theater Center presents Somber Tides At the Segal Theatre Film and Performance Festival 2025 A film by Chantal Caron / Fleuve Espace Danse Screening Information This film will be screened in-person at The Segal Centre on Saturday May 17th at 11am (as part of the Short Film Program) and also be available to watch online on the festival website till June 8th 2025. RSVP Please note there is limited seating available for in-person screenings at The Segal Centre, which are offered on a first-come first-serve basis. You may RSVP above to get a reminder about the Segal Film Festival in your inbox. Country Canada Language No Dialogue Running Time 12 minutes Year of Release 2024 About The Film About The Retrospective Somber Tides is a cry from the species, startled into survival against the elements. One last breath before being trampled by the Earth or maybe conversely a battle to wage against winds and tides clutching on before extinction. About The Artist(s) Choreographer and filmmaker Chantal Caron's visual signature has always been inspired by the St. Lawrence River and the natural elements that make up its ecosystem. Her works are inspired by the living and embodied in contemporary dance. A member of the Order of Canada and recipient of CALQ's "Artist of the Year" award in 2023, her short films have been selected and awarded around the world since 2015 for their unique aesthetics. Get in touch with the artist(s) distribution@bandesonimage.org and follow them on social media Official Site : https://bandesonimage.org/distribution/catalogue-de-films?view=article&id=10 FILM FACEBOOK : https://www.facebook.com/profile.php?id=61564890205177 PROD FB : https://www.facebook.com/fleuveespacedanse PROD INSTA : https://www.instagram.com/fleuve_espacedanse/ DISTRIB FB : https://www.facebook.com/BandeSonimage DISTRIB INSTA : https://www.instagram.com/bandesonimage/ Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. Boulba, Aminata Labor, Lucie Brux Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film PACI JULIETTE ROUDET Radical Move ANIELA GABRYEL Funambulism, Hanging by a Thread Jean-Baptiste Mathieu This is Ballroom Juru and Vitã Reas Lola Arias The Jacket Mathijs Poppe Pidikwe Caroline Monnet Resilience Juan David Padilla Vega The Brink of Dreams Nada Riyadh, Ayman El Amir Jesus and The Sea Ricarda Alvarenga Grand Theft Hamlet Sam Crane & Pinny Grylls Theater of War Oleh Halaidych Skywalk Above Prague Václav Flegl, Jakub Voves Somber Tides Chantal Caron / Fleuve Espace Danse

Instagram (A Performance) is 40-minute text about collective self-regard, written and directed by Aaron Landsman, performed by a different actor each showing. This Prelude showing will be performed by April Matthis. The piece is an extended riff on how caught up we are in each others’ image diaries, and in our own self-reflections; on how even the most cynical or circumspect of us get wrapped up in how we show our feeds to our followers. Performers receive an orientation shortly before they perform - the script includes both words to say and simple scores for movement and gesture. The piece is rendered as a litany of single photos, one per page. The joy in this piece is watching accomplished performers respond to and embody text in the moment, in the complicated way we often respond to our friends’ feeds. It is also an invitation for audience members to create for themselves the images they are hearing aloud - an imaginative act akin to reading - and to think about the moments in their lives that escape our lenses, that may be embodied and rendered more strongly as memory alone. PRELUDE Festival 2023 PERFORMANCE Instagram: A Performance Aaron Landsman Theater, Performance Art English 35-40 MInutes 3:30PM EST Wednesday, October 11, 2023 Elebash Recital Hall, The Graduate Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Instagram (A Performance) is 40-minute text about collective self-regard, written and directed by Aaron Landsman, performed by a different actor each showing. This Prelude showing will be performed by April Matthis. The piece is an extended riff on how caught up we are in each others’ image diaries, and in our own self-reflections; on how even the most cynical or circumspect of us get wrapped up in how we show our feeds to our followers. Performers receive an orientation shortly before they perform - the script includes both words to say and simple scores for movement and gesture. The piece is rendered as a litany of single photos, one per page. The joy in this piece is watching accomplished performers respond to and embody text in the moment, in the complicated way we often respond to our friends’ feeds. It is also an invitation for audience members to create for themselves the images they are hearing aloud - an imaginative act akin to reading - and to think about the moments in their lives that escape our lenses, that may be embodied and rendered more strongly as memory alone. Will be presented by Abrons Arts Center in June 2024 Content / Trigger Description: Aaron Landsman is a theater artist, researcher and teacher. His performance works have been presented by many venues in New York, including The Chocolate Factory, Abrons Arts Center, The Foundry Theatre, HERE and PS 122. His work has also been staged in Phoenix, Houston, Keene, San Francisco and other US cities, as well as in The Netherlands, Norway, Morocco, the UK and Serbia. He started the working group Perfect City, based at Abrons, which creates pathways through art for communities to envision more equitable cities, designed for the people who live here. His book The City We Make Together, co-authored with Mallory Catlett, came out with the University of Iowa Press in 2022. He has performed with Elevator Repair Service Theater, Tim Etchells, Tory Vazquez and Andrea Kleine, among other folks. He is a recent Creative Capital grantee, Guggenheim Fellow and ASU Gammage Residency Artist, and Perfect City's work is supported by The Artist Employment Program of Creatives Rebuild NY. He teaches part-time at Princeton. @thinaar (IG and Twitter); http://www.thinaar.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

European Stages serves as an inclusive English-language journal, providing a detailed perspective on the unfolding narrative of contemporary European theatre since 1969. Back to Top Article References Authors Keep Reading < Back European Stages 19, Fall, 2024 Volume Visit Journal Homepage Hecuba Provokes Catharsis and Compassion in the Ancient Theatre of Epidaurus By Cindy Sibilsky Published: November 25, 2024 Download Article as PDF Hecuba, Not Hecuba , written and directed by Portuguese director, festival director, author, and performer Tiago Rodrigues and performed by actors from Comédie-Française (one of the oldest theatre companies still running, formed 1680), premiered at the Festival d’Avignon in France at the end of June but found its true home amid the ancient theatrical spirits of Greece at the Ancient Theatre of Epidaurus at the Athens Epidaurus Festival late July 2024. [A shorter report on the Avignon performance and another in Pilsen can be found elsewhere in this issue.] I was fortunate to witness not a clash but a camaraderie, a magnificent mingling coexistence of cultures, languages, characters, emotions, and eras that blended together flawlessly to present a timeless tale of humanity in all its myriad forms, from the tragic to transcendent, from the grotesque to the glorious. The production, the performances, and the setting combined created a transformative experience that vividly reminds one of the necessity and vital power of theatre to heal and create collective awareness of shared human existence. Like all great odysseys, internal and external, my journey began with crossing an ocean from New York to Athens, followed by a quick metro ride to a two-hour bus excursion alongside the Sardonic Gulf. We traversed dense pine forests and drove by dirt road goat farms clinging to cliffs. The epic voyage was part of the soul-opening that prepares one for the profoundness of encountering the ancient Theatre of Epidaurus for the first time, a theatre with exquisite acoustics and aesthetics built in the 4th century BC by the architect Polykleitos the Younger that seats up to 14,000, still in use for contemporary audiences to experience dance, music and dramatic performances as the ancients did thousands of years before. Dionysus is best known as the Greek god of theatre, ecstatic dance and wine. His temple and theatre are in the heart of Athens at the Acropolis. However, in Epidaurus, the God of choice is the God of medicine, Asclepius, who the performances were meant to worship. While the connection to theatre and medicine may not seem obvious outright, ancient Greeks believed that seeing comedic and tragic plays was a form of healing, observing that those watching dramas performed onstage had positive effects mentally and physically. In fact, the word catharsis was coined by Aristotle in his Poetics and is derived from the Greek word “kathairein,” which means "to cleanse or purge.” This term aptly describes the release of emotional tension Aristotle noted that spectators experienced when viewing dramatic tragedy. Why are we drawn to witnessing pain and suffering on stages and screens? It connects us with universal humanity and fosters understanding. “We sometimes think that our grief is unique, without precedent, that no one in the history of humanity has suffered so much. But we only need to watch a play,” Rodrigues explained. Upon entering what feels like a truly sacred space, a centuries-old amphitheatre surrounded by woodlands growing dark in the dusk, the ancient spell is broken by 20th- century sounds. Otis Redding's voice, full of love and longing, soul and sorrow, cuts through the night sky. The somewhat odd opening music choice will come full circle in one of the play's most powerful moments. The set (scenography by Fernando Riberio) is simple: a few tables, some chairs, and a large object obscured by black cloth, looming like a mountainous Pandora’s box filled with secrets. But the real set is the setting, which dwarfs anything manmade or modern. The actors are clad in black flowing garments (by Jose Antonio Tenente)—European chic, with a nod to the Greek draping of yesteryear. Indeed, upon the opening lines (spoken in French with Greek and English surtitles on the sidelines), the ensemble introduces themselves as the chorus. They aim to set the tone and stage, explaining in unison their multiple roles and purpose. It’s a little cute and slightly undermines the depth and intensity of the performances to come, but a lighthearted introductory approach has a way of disarming an audience, just as the Otis Redding music did. The Comédie-Française ensemble is superb, and each of them volleys between roles of an actor rehearsing for a present-day performance of Euripides’ Hecuba in Paris, France, the character they are portraying in Euripides’ Hecuba , and several people entangled in a court case. Seamlessly, they shift from one role to another without fussiness or overt formality, a credit to the actors and the director. In the first scene, they are all gathered for a table reading of Euripides’ Hecuba. As is typical in these gatherings, the actors (playing actors) are in various self-centric states, detracting from the task at hand. Some are bored or frustrated, waiting for their lines; others are desperate to know their entrances and exits, arrogantly claiming more space than the others (particularly the actor who plays Polymestor, a brilliantly pompous and despicable role for Loïc Corbery). Then there’s the lead actress playing Hecuba, Nadia (played with exceptional dimension and sensitivity by Elsa Lepoivre). Nadia is clearly distracted, constantly checking the time, eager to depart. The only thing on her mind is her son’s court case. Nadia’s son, Otis, named after the musician, is autistic. She attempts a pun that people suggested she prophesied his condition by naming him thus (say Otis with a French accent, and you get “au-tee-ss”)—a little humor attempt that falters, especially when trying to keep up with the translations. Otis is verbally limited to about fifty words, mainly something and not something. Fruit, not fruit; home, not home; mama, not mama; cuddle, not cuddle (hence Hecuba, Not Hecuba). It was a vehement “not cuddle” that alerted her maternal instincts that something was very wrong. She approached him from behind, arms open for an embrace, and Otis threw his arms into an “X” above his head and yelled, “Not cuddle!” Most of the time, Otis is under the state’s care in a facility. This gesture made Nadia certain he was being abused, and the remainder of the performance darts between scenes betwixt Euripides’ Hecuba characters that parallel or sometimes contrast with lawyers, prosecutors, defendants, witnesses and the accused abusers. Life imitates art and vice versa. In the court, human nature is revealed as it is on stage. Elissa Alloula plays the actress portraying Coryphaea (a mountain goddess) in Hecuba and Nérine in the courts. As Nérine, she confesses to witnessing the abuse. Her fears of speaking out because she is an immigrant and threatened with deportation are lessened by being a mother and caretaker. Conversely, Séphora Pondi, who also plays Nadia’s lawyer preparing her for the wrath of the cross-examination (“Why, as his mother, do you allow the state to take care of Otis?”) is another who looks after Otis but is devoid of proper training for caring for an autistic child. Hecuba, Not Hecuba. Photo © Alex Kat Gaël Kamilindi, who is barely more than an observer for the first half of the play, gets two strong moments to shine as the actor. Playing the small role of a servant in Euripides’ Hecuba, he confronts Nadia’s lamentations about the insurmountable stress of her son’s abuse and the trail by putting his own pain and role into perspective. “At least he is alive!” he challenges her, referring to the loss of his father, who was his “whole world.” Each character, no matter how small, has a life and relationships that are their “world.” This pivotal moment speaks to the universality of pain and Rodriguez’s observation on how we each suffer individually and feel we are in a silo with our anguish, while others are feeling tormented too. Kamilindi’s sympathetic actor is starkly contrasted by Dubois, Otis's lead abuser. Cold, hard and staring blankly ahead, he defiantly defends himself for “doing what needed to be done.” Denis Podalydès, who also plays the actor portraying Agamemnon (a controversial character, not as outright villainous as Polymestor, but the one who lays judgment on Hecuba, ultimately deciding she was right in her vengeance on Polymestor and his sons), also plays the Prosecutor, an amiable man who grows more so as the trial continues with subtleties like offering or denying refreshments to the witnesses and passionately defending Nadia and Otis. In one such moment, he questions the reason for force, and when Kamilindi, as Dubois, states he felt threatened, Podalydès, as Polymestor, flails his arms back and forth at his chest and shouts, “He was dancing!” This transitions into one of the most unexpectedly powerful moments of the play. Each cast member dons a helmet (like those worn by children to protect them from injury) and, to Otis Redding’s “Try A Little Tenderness,” flings their arms about with wild abandon and joy. At first, it seemed absurd, another attempt at humor flattered. But, almost immediately, another sensation rushed over me as the actors, fully committed, almost forgetting themselves, flung their limbs with such sweet sincerity and innocence that I felt the waterworks welling up in my eyes uncontrollably. Hecuba, Not Hecuba. Photo © Alex Kat I felt a combination of the absurdity, innocence, joy and the unspeakable violations to crush those feelings. It hit me then that catharsis wasn’t the only healing effect of witnessing tragedy. The greater emotion and, indeed, power that is stirred is compassion. I cannot personally relate to the plights of these characters; the tragic mother (Hecuba, who lost most of her nineteen children, or Nadia with her abused autistic son) is far removed from my experience. Yet, the depth of compassion such performances provoke is enough to feel the pain as your own. And with that, to feel less isolated in your struggles and less separate from others’ hurt. Perhaps this was Nadia’s turning point as well. The actress and mother was at first defensive when hearing Dubois’ excuses, then in a bold choice that could only happen at a theatre surrounded by pine trees engulfed by the velvety night, Lepoivre shifted from defensiveness to listening as she wandered off the stage into the woods, her pale skin and blond hair glowing against the darkness. She emerged from the forest with a new purpose, even some compassion for Dubois, the abuser, as a fellow victim of systemic abuse and with a newfound vengeance for the real perpetrator, the mastermind behind the government-run grossly lacking facilities, the Alternate Minister, arrogant, slick, vile and dangerous as Polymestor himself, played by the same actor in that role, Loïc Corbery. Nadia performs to the press to highlight the injustices. The Minister’s defenses fall flat as lies and sophistry. Their battle plays out much like Euripides’ Hecuba, with justice being served blindingly. A significant theme peppered throughout is of a canine kind. In some tellings of Hecuba, she was transformed into a dog by the gods after snarling at Odysseus as a slave. This seeming punishment allowed her to escape. Dogs play an integral part. Nadia speaks of an animation that Otis adores (parents of autistic children have noted that cartoons and anime are calming and enjoyable because the emotions are easier to identify) about a stray dog roaming alone, who upon various turns, shows up more beaten and injured, eventually losing a leg. This is later emphasized when the black drape covering the mountainous set piece reveals a grotesque statue of a wolfish hound whose leg falls off. Nadia uses this as a prop to represent Otis to the press. In the play’s final triumphant moments, Nadia tells the audience end of the cartoon, the lost stray finds a puppy, and they are no longer afraid or alone. Image Credits: Article References References About the author(s) A lifelong theatermaker and arts worker, Cindy Sibilsky (she/her) is the founder/CEO and producer of INJOY Entertainment LLC (established in 2011), a multimedia, multi-genre and multi-purpose arts & entertainment company focusing on meaningful cultural exchange worldwide. She is a Broadway, Off-Broadway & international independent producer, marketing/PR director, and writer/journalist. In 2019, she was guest editor, curator, and lead writer for American Theatre Magazine ’s special edition on Japanese Contemporary Theatre. Through inJOY Entertainment, Cindy represents a diverse and constantly growing roster of New York and global clients, companies and shows, including festivals, theatre, musicals, dance, concerts, cirque, cabaret, drag, curated art shows, public art, and immersive performances. European Stages European Stages, born from the merger of Western European Stages and Slavic and East European Performance in 2013, is a premier English-language resource offering a comprehensive view of contemporary theatre across the European continent. With roots dating back to 1969, the journal has chronicled the dynamic evolution of Western and Eastern European theatrical spheres. It features in-depth analyses, interviews with leading artists, and detailed reports on major European theatre festivals, capturing the essence of a transformative era marked by influential directors, actors, and innovative changes in theatre design and technology. European Stages is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents Between Dark Aesthetics and Repetition: Reflections on the Theatre of the Bulgarian Director Veselka Kuncheva and Her Two Newest Productions Hecuba Provokes Catharsis and Compassion in the Ancient Theatre of Epidaurus (W)here comes the sun? Avignon 78, 2024. Imagining Possible Worlds and Celebrating Multiple Languages and Cultures Report from Basel International Theatre Festival in Pilsen 2024 or The Human Beings and Their Place in Society SPIRITUAL, VISCERAL, VISUAL … SPIRITUAL, VISCERAL, VISUAL …SHAKESPEARE AS YOU LIKE IT. IN CRAIOVA, ROMANIA, FOR 30 YEARS NOW Fine art in confined spaces 2024 Report from London and Berlin Berlin’s “Ten Remarkable Productions” Take the Stage in the 61st Berliner Theatertreffen. A Problematic Classic: Lorca’s Bernarda Alba, at Home and Abroad Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

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Watch His Head was a Sledgehammer by Richard Foreman in Retrospect at the Segal Film Festival on Theatre and Performance 2025. The term “iconoclast” gets thrown around all too much, but in the case of Richard Foreman (1937-2025) there is hardly a more appropriate synonym to describe him. An unparalleled writer and director who ranks among the premier theater artists of the twentieth century, Foreman was also a local legend whose electrifying work greatly shaped the artistic landscape of downtown New York. The founder and director of the Ontological-Hysteric Theater company, Foreman staged eighty-plus astounding plays in a career that spanned over forty-five years, and most of them were presented here in the neighborhood. Foreman’s brazen avant-garde aesthetic was deeply rooted in his early involvement with Jonas Mekas and the 1960s underground film movement. His very first play, Angelface, was performed in 1968 at Mekas’s Film-Makers’ Cinematheque, one of the organizations that preceded Anthology. This retrospective both memorializes Foreman, who passed away in January, and celebrates the publication of No Title, his posthumous new book just published by The Further Reading Library. Organized in roughly chronological order, the series includes Foreman’s own films and videos alongside an array of performance documentation, documentaries, and portraits. Foreman retired from the theater in 2013 to focus on filmmaking, and the series includes his final digital videos, many of which have never been publicly screened. In addition to this sweeping survey, we are presenting a sidebar program featuring a handful of Foreman’s most cherished films. Some are the movies that inspired him early on, and others are works that he talked about on a regular basis. [Unfortunately, we are unable to include Foreman’s 35mm feature film STRONG MEDICINE (1981) in the series as all the known prints are unavailable at the moment due to a future preservation project.] SCREENING SCHEDULE RICHARD FOREMAN, PGM 1: THE EARLY PLAYS May 21 at 7:00 PM RICHARD FOREMAN, PGM 2: SOPHIA: THE CLIFFS May 22 at 7:00 PM RICHARD FOREMAN, PGM 3: PAIN(T) AND VERTICAL MOBILITY May 23 at 7:00 PM RICHARD FOREMAN, PGM 4: TWO REDISCOVERIES May 24 at 6:00 PM RICHARD FOREMAN, PGM 5: SHORT FILM AND VIDEO WORKS OF THE 1970s May 24 at 8:30 PM RICHARD FOREMAN, PGM 6: SHORT FILMS AND VIDEOS OF THE 1980s May 25 at 6:00 PM RICHARD FOREMAN, PGM 7: ONCE EVERY DAY May 25 at 8:00 PM RICHARD FOREMAN, PGM 8: NOW YOU SEE IT NOW YOU DON’T May 26 at 6:45 PM RICHARD FOREMAN, PGM 9: MAD LOVE May 26 at 8:45 PM RICHARD FOREMAN, PGM 10: LATE DIGITAL WORKS May 27 at 6:30 PM RICHARD FOREMAN, PGM 11: ASTRONOME May 27 at 8:30 PM RICHARD FOREMAN, PGM 12: MY NAME IS RAINER THOMPSON AND I’VE LOST IT COMPLETELY May 28 at 6:30 PM RICHARD FOREMAN, PGM 13: MARIE LOSIER + SHAUN IRONS/LAUREN PETTY May 28 at 8:45 PM IMAGE CREDITS Event Image – Thomas Jay Ryan, Jan Leslie Harding, Henry Stram, in Richard Foreman’s “My Head was a Sledgehammer” Photo copyright by Paula Court / Courtesy of NYU and Richard Foreman Artist Image – Richard Foreman, 2009 By Dave Pape. . The Martin E. Segal Theater Center presents His Head was a Sledgehammer At the Segal Theatre Film and Performance Festival 2025 A film by Richard Foreman in Retrospect Screening Information The retrospective will be screened in-person at Anthology Film Archives (32 Second Avenue, NY 10003) from May 21st to May 28th 2025. RSVP Please note this is a ticketed event that takes place at Anthology Film Archives. Please use the button to reserve your tickets. Country United States Language English Running Time - minutes Year of Release - About The Film About The Retrospective The term “iconoclast” gets thrown around all too much, but in the case of Richard Foreman (1937-2025) there is hardly a more appropriate synonym to describe him. An unparalleled writer and director who ranks among the premier theater artists of the twentieth century, Foreman was also a local legend whose electrifying work greatly shaped the artistic landscape of downtown New York. The founder and director of the Ontological-Hysteric Theater company, Foreman staged eighty-plus astounding plays in a career that spanned over forty-five years, and most of them were presented here in the neighborhood. Foreman’s brazen avant-garde aesthetic was deeply rooted in his early involvement with Jonas Mekas and the 1960s underground film movement. His very first play, Angelface, was performed in 1968 at Mekas’s Film-Makers’ Cinematheque, one of the organizations that preceded Anthology. This retrospective both memorializes Foreman, who passed away in January, and celebrates the publication of No Title, his posthumous new book just published by The Further Reading Library. Organized in roughly chronological order, the series includes Foreman’s own films and videos alongside an array of performance documentation, documentaries, and portraits. Foreman retired from the theater in 2013 to focus on filmmaking, and the series includes his final digital videos, many of which have never been publicly screened. In addition to this sweeping survey, we are presenting a sidebar program featuring a handful of Foreman’s most cherished films. Some are the movies that inspired him early on, and others are works that he talked about on a regular basis. [Unfortunately, we are unable to include Foreman’s 35mm feature film STRONG MEDICINE (1981) in the series as all the known prints are unavailable at the moment due to a future preservation project.] SCREENING SCHEDULE RICHARD FOREMAN, PGM 1: THE EARLY PLAYS May 21 at 7:00 PM RICHARD FOREMAN, PGM 2: SOPHIA: THE CLIFFS May 22 at 7:00 PM RICHARD FOREMAN, PGM 3: PAIN(T) AND VERTICAL MOBILITY May 23 at 7:00 PM RICHARD FOREMAN, PGM 4: TWO REDISCOVERIES May 24 at 6:00 PM RICHARD FOREMAN, PGM 5: SHORT FILM AND VIDEO WORKS OF THE 1970s May 24 at 8:30 PM RICHARD FOREMAN, PGM 6: SHORT FILMS AND VIDEOS OF THE 1980s May 25 at 6:00 PM RICHARD FOREMAN, PGM 7: ONCE EVERY DAY May 25 at 8:00 PM RICHARD FOREMAN, PGM 8: NOW YOU SEE IT NOW YOU DON’T May 26 at 6:45 PM RICHARD FOREMAN, PGM 9: MAD LOVE May 26 at 8:45 PM RICHARD FOREMAN, PGM 10: LATE DIGITAL WORKS May 27 at 6:30 PM RICHARD FOREMAN, PGM 11: ASTRONOME May 27 at 8:30 PM RICHARD FOREMAN, PGM 12: MY NAME IS RAINER THOMPSON AND I’VE LOST IT COMPLETELY May 28 at 6:30 PM RICHARD FOREMAN, PGM 13: MARIE LOSIER + SHAUN IRONS/LAUREN PETTY May 28 at 8:45 PM IMAGE CREDITS Event Image – Thomas Jay Ryan, Jan Leslie Harding, Henry Stram, in Richard Foreman’s “My Head was a Sledgehammer” Photo copyright by Paula Court / Courtesy of NYU and Richard Foreman Artist Image – Richard Foreman, 2009 By Dave Pape. About The Artist(s) Richard Foreman (1937-2025) was a prominent American avant-garde playwright and the founder of the Ontological-Hysteric Theater. He was known for his unique, highly stylized theater, characterized by complex language and visual tableaux, often employing disruptive, deconstructive elements. His work explored themes of the absurd and the surreal, with a focus on the relationship between language and image. Get in touch with the artist(s) - and follow them on social media - Find out all that’s happening at Segal Center Film Festival on Theatre and Performance (FTP) 2025 by following us on Facebook , Twitter , Instagram and YouTube See the full festival schedule here His Head was a Sledgehammer Richard Foreman in Retrospect Moi-même Mojo Lorwin/Lee Breuer Benjamim de Oliveira's Open Paths Catappum! Collective Peak Hour in the House Blue Ka Wing Transindigenous Assembly Joulia Strauss Bila Burba Duiren Wagua JJ Pauline L. 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