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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

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 20, 2025 Volume Visit Journal Homepage Interview with Walter Bart (Artistic Leader, Wunderbaum Collective & Director, Die Hundekot-Attacke) from the 2024 Berliner Theatertreffen By Steve Earnest Published: July 1, 2025 Download Article as PDF Interview with Walter Bart, Artistic Leader of Wunderbaum Collective and Director of Die Hundekot-Attacke from the 2024 Berliner Theatertreffen Wunderbaum, Co-creators of Die Hundekot-Attacke at Theaterhaus Jena Walter Bart was born in Rotterdam in 1978 and completed his training as an actor at Toneelacademie Maastricht in 2001. In the same year, he founded the collective Wunderbaum with Maartje Remmers, Wine Dierickx, Marleen Scholten and Matijs Jansen (they were later joined by stage designer Maarten von Otterdijk), and together they created more than 50 productions over the past 22 years. Wunderbaum collaborated with Johan Simon’s company Hollandia and with NTGent before the collective joined up with Theater Rotterdam in 2010. Theater Rotterdam continues to be Wunderbaum’s basis today. From 2018 to 2022, Wunderbaum formed the team of directors of Theaterhaus Jena. With Wunderbaum, Walter Bart created theatre for the main and the small stage as well as other venues across the city. They developed concepts, directed and performed. The collective’s most recent productions include “Alfa Romeo”, “Wunderbaum spielt LIVE, online läuft es schief” (both in 2024), “La Cordista”, “Der Platz” and “Die Hundekot-Attacke”, a co-production with Theaterhaus Jena that was invited to the 2024 Theatertreffen. About the Incident in Question In February 2023 Choreographer and Ballet Leader of Hannover Opera Marco Goeke walked up to critic Wiebke Hüster , confronted her about a scathing review she had published about his new work “In the Dutch Mountains” the day before. Angered about her comments, Goeke then pulled out a back of dog excrement (from his pet dachsund) and violently smeared it all over Hüster’s face. The police and authorities then got involved and Goeke, a rising star in the German dance scene, was first suspended and later removed from his post as Director of the Hannover Ballet. The incident made national news across Europe (as well as the New York Times ). The Hannover Ballet stated that Goeke’s impulsive and violent actions damaged both Ms. Hüster as well as the reputation of the company itself. The incident was universally condemned as an attack on the freedom of the press. ES: So your background, you're now the artistic director of Theaterhaus Jena? WB: No, no, I used to be, until 2020. But together with my group, Wunderbaum, we are an actors' collective from the Netherlands. And we are based in Rotterdam, in Theater Rotterdam. And then we read that this theater was looking in 2018 for a new artistic direction, or a new artistic leader. ES: And they specifically asked for a collective to apply for the leadership role? To come in as a group of people leading? WB: Yeah, a group of people. They wanted a group of people. Not just one, and that's kind of like the way this theater, the background of this theater is. They like to work as a... Yeah, and it has partly to do with the history of it, because it was torn down. I will give you a book of the history of the theater house, it's pretty interesting. It's like, after the wall came down, they... I mean, the whole East was like... Kind of like, they didn't know in what direction to go, of course. So, they were all kind of... And all the money was gone. All the money was gone, so they were really poor. And they tried to... They invited a group from the Ernst Busch, in 1990s, 91. And that's a group of actors from the Ernst Busch Schule in Berlin, and they... it was a class from the Ernst Busch who took over this theater. . So the leaders of this theater, they just drove there, and they said to a few actors, come over to Jena, you'll get the whole theater, and do what you want. ES: It sounds like an excellent opportunity for a group of young actors studying theatre to finish their last year in this situation. Was it? WB: It was okay. But there was not a lot of money. And they got a... Good luck.Yeah, good luck. And the theater was really run down. It was really terrible., like a mess. And I'll show you later the building. And then... So there is something like this situation in the DNA of the house, there's a strong collective vibe. And then it's also led by a group of... They call them... It means like some sort of a board. But in the board are also technicians, for example, from the theater. And they decide of the future, so they choose the next people. And so for that reason, I think the theater also always had like a collective background. And then they asked us to come and we... But we are an actors' collective, so we are six actors. It's funny, we worked quite a lot in the U.S. as well, as a group. ES: So has your company visited the USA? WB: We did two, three co-productions with the Red Cat Theater in Los Angeles. The Red Cat. It's Mark Murphy. There's so many theaters in Los Angeles. It's part of the Disney Theater. It's the Red Cat. And then we went to play in Austin in the Fusebox Festival a few times. And in New York also in a theater. And we did... Yeah, Detroit. We've been in the U.S. quite a while. But never in Carolina. It's a pity. No, no, no. Maybe Atlanta would be the closest. The U.S. is so huge. So the actors are also involved in decisions about how they run the theater. And now this group, the actors, and my girlfriend, who's a director, and our set designer, do it till this summer. And then we moved to Berlin. But Wunderbaum stays in Rotterdam. But I moved to Berlin. And then they asked me as a director to do this piece. So they invited me again. ES: So what about this piece? I wanted to know how you developed this project. WB: Obviously, it was a big story at first. Yeah, exactly. So it's kind of like... Why make a play out of this? I always thought... Because a lot of people didn't know how to talk about it. And I kind of liked that about it. Because you felt there was a huge insecurity. Because of course the press framed it pretty fast as an attack on the freedom of speech. And then you felt on the artistic side, people who deal with critics, they think, okay, what can I say about it? The image of somebody putting... Yeah, it's so extreme. And all the time you... I felt there was such much... People were so uncomfortable to talk about it. So, there was not an honest talking about it. t's also like... And for me that kind of fitted in the time. I think in this time there's a lot of subjects. And I think it certainly has to do with Corona. It also has to do with politics. That I felt there's a lot of topics where people don't immediately say there, open your mouth. It's like immediately... And not in the first conversation. But say, okay, are you a Trump voter? Or are you a Biden voter? Or are you a pro this or pro Corona? Believe me, that's a big problem. I know, of course. We follow the American politics day by day. I'm hooked on it, unfortunately. It's stupid. Make a play about that. Yeah. I think Americans have to do it themselves. It's already a play. ES: It is. We're living it. WB: But then I felt like this kind of discomfort, is that a word? Where you don't know how to talk. And I thought that was in this subject a lot. Because it's kind of like... You didn't know what to say about it, actually. Or you don't know. People were not like... And then I thought that... So it would be great to... Because it's so difficult to talk about it. But then theater is the best place also to talk about it. Because it happened in a theater. ES: What actually happened in the theater and how did you guys make the piece? WB: It happened in a theatre in Hanover, the incident. So, then we made the concept about the theater. And I did it before with Wunderbaum. And that piece played also in the United States. Which one now? It's called Looking for Paul . And it also won in Edinburgh. We won a big theater award for it. And it is about... It was the same concept. It is a group of actors who want to make a piece. But they end up in a fight. So they don't make it to the premiere. And they fail. So they don't... But that's in fiction. It's like... We play a group of actors. We're developing a play. And they don't succeed. And in the end, they decide to read the emails they wrote each other during the rehearsal process. So, it's like this meta. So, it's a group of actors reading emails. About why they didn't succeed. And then you follow this group of actors and all their thoughts. And I knew that this way of having more perspectives on one subject and blurring the line of fiction and reality. WB: So, it's kind of like a pseudo-documentary work. Because the actors use their own names and use real stuff and mix it with fiction. And then I thought it's also a great way to... It's on reality TV now. Everybody is so interested in that, but I don't understand that. Not, exactly. We cringe at Survivor . ES: I can't believe that. My wife likes to watch The Bachelor . WB: I would leave the room to watch The Bachelor . It's terrible. What is it? The Bachelor . This married idiot. This young single idiot wants to date all these girls. It's so stupid. And the women are like, Oh, he's so sweet. I'm like, shut up. It's funny. ES: This totally took over our culture. I wonder why. WB: Yeah, me too. I think it will go away. I hope so. It's like zombies. ES: It's like zombies. They just came and took everything. And now, please go. WB: Well, of course, in a way, I think TikTok took over. I mean, the younger generation is, of course, watching TikTok. And it's the same. What I like about TikTok is hat's reality TV. Everybody can produce it. So, it's getting easier and easier. I read this Michael Cohen thing. I read it every day. This process that's happening now. He said, no, I'm going on TikTok at night. When I'm tired and I want to lose stress, I go on TikTok. And then he goes on TikTok saying these stupid things, you know, about this process. He also has this trouble that he's saying too much about the process. I don't know. But it's legal. ES: He can do this. Yeah, he can do it. Freedom of speech. WB: Exactly. But I'm so surprised people do that. I would never, like, at night when I cannot sleep, go live. Or maybe you've been drinking or something. You say things. Yeah, I would be way too scared. But that's kind of funny as well, that these people see this reality. I don't know. They don't care. ES: So how did you develop the script? Just by improv? WB: We started writing in the reality. As a group. We wrote it together, which is the great thing about it. And then, so we knew that when we would, and we did the writing together with a reality timeline of what happened for real. So, we knew when we would do the press release of it, that there would be a lot of reactions. And we wanted to have these reactions in the writing. So we did the press release that we were going to make it. And then we, everything that happened, we used in writing. So, we had characters. And these characters, yeah, they write about their perspective, with the reality of the incident as a background. And then the joke was that they, because nobody comes to Jena, besides theatre critics. There's a lot of times we don't get a lot of critics, because it's in the province. In the story, there's only one newspaper following us. It's the local Thuringer Zeitung. And they, it's very hard to get attention from other newspapers. And then we thought if we do this topic, that's the storyline. The actors think, hey, when we make a piece with this topic, maybe more press will come. So let me ask you though, before we go forward. ES: So, who are the actors? Are they playing themselves as actors, inviting the press? Or who are they? WB: They are the actors from the theater. Actors from the company. Yeah, yeah, yeah. So, they play themselves. But they play themselves. Because what they play is, they develop characters out of this. And they just decide to, as a group, they decide to take this on as a project. Yeah. Okay. Yeah. And in the fiction, I'm not part of the fiction. So there is, in the fiction, there's no director. Okay. So they develop it as a collective. Okay. Because we thought it was more interesting. Not to have the dynamic of it. Not to have the director in it. But that's also how we work, in a way. Because all the material you would make. Because everybody is the director, in a way. Yeah, exactly. ES: Are you in the show? WB: No, I'm not. But that's what, Wunderbaum and my collective, we all direct. And we are all directors. So, there's no hierarchy. Maybe you, I don't know if it's... ES: No, I understand fully. I know groups like this. Yeah, it's like... And sometimes that's the best way to work. WB: But sometimes... it sucks. (laughs) But sometimes it's more efficient. You direct it. Everybody does this. We got three weeks. Shut up and listen to him. Or whatever. You do whatever. Exactly. That's exactly how we work. Exactly. It's what works best. And then, that was kind of the joke in it. That they don't have a job anymore next year. Because this is the last production they make here. Oh, I saw that in the script. Okay, this is gonna be our last show here. Yeah, so this is the last show. It's not really, it's not totally true. Because now they rehearse for another. There's gonna be one more summer production. But... We play, it's the last season. Next year they are all jobless. So, they don't have work next year. ES: Really? WB: Yes, that's the truth. So, they are all jobless next year. And that's why we thought it might be good to get as much press as possible for this thing. ES: Well, getting in the Theatertreffen is a good gig. WB: Exactly. So that's also playing with it. They also try in the script, they also say maybe if we make this, the Theatertreffen will come. So, the Theatertreffen is even part of the script. So we were kind of... And then it kind of like, how it developed. So how it developed, it developed in the best possible way. Reality. So yeah, that's it. And then we decided to dance. So there is like a dance part in it. Because it's also about the dance world. Because it's of course about a choreographer. Yeah, yeah, yeah. So, there's a dance sequence, okay. We worked with a choreographer. And he taught us how to dance. Modern dance, and in their rehearsals, they dance. They work on a dancing show. And in the end of the emails, they present this dance material they rehearsed. That you will see. So, it's first emails, reading, and then dancing. And it's the idea that the dance is bad, so the critic also says, this sucks, you know, so they all want to... Well, they tried to really dance, so we worked with a real choreographer. We tried to make the dance not ironical. But of course, it's a really bad dance. I mean, to the standards of modern dance, it's not good. But they worked hard on it. And in the characters, they try to... In the dances, they also try to tell the story with dance. The story of what happened. The story of the incident. The story of the incident they try to tell in the dance. Is told in the dance. And it was good because it's way more abstract. Because of course, there's a lot of like... You cannot... The incident itself on stage would be very... I don't know, not that interesting. And also not tasteful. I mean, for the critic, it's a lot about taste as well. What words do you use if you want to... And of course, there's a lot of discussion also in German theater about reproducing things. So, you would reproduce a violent act. Do you want to do that? No. ES: Why do you think this work is important? WB: Oh, God, I really don't know. ES: Well, do you think the questions about the freedom of speech, the freedom of the press... WB: No, not totally. But I think it's very much about... Or what can the theater express? No, I think it's about the periphery and the center. So, it's like where the center is. It's in a theatre in Berlin, in Germany. And what's the periphery? How do you call it? Is that a word? What's outside the center? The work is about where the center of everything is, right? Yeah, I think that's it. And they try to get... And these actors, they are very aware that they are not in the center. ES: And they try to become the center? Okay, I understand. WB: Yeah, they try. They know that we need... And in that way, it's... Yeah, it's about where is the center and what's important and what do we think as actors or as theater makers is important. And that's, I think, the main question and how we function in this media is also a big topic because we found out when we did it that we're like... You have this DPA, Meldung , it's called in Germany. And I know it's... I think you will have it in America as well that when you do like a press thing and then it goes to all media. So, you have like, you write something, and it goes to all news channels. ES: A press release? WB: Yeah. Yeah, but then a press release... normally when we do a press release with theater it doesn't end on the front page of all newspapers. But now it did. Okay. So we got like... And then we found out how this media works. And they... Because the word dogshit is in it, people click on it because they are interested in the story of the dogshit. So people want to read that. So it's also a lot about how media functions and how attention works. It's pretty inevitable to talk about. It's like so much... about how these media function. They have this clickbait thing so that journalists also get paid for how many clicks they have. Of course, I mean, it's also this... I think it's this Trump thing. Of course, the drama. Every article where there is Trump in it, people click on it. ES: Really? People are that... You think people outside of the USA are interested to know what's going on with Trump? WB: Totally. Yeah. That's fascinating. It's like... But it's like a real-life show. It's like the biggest entertainment there is. Like the president... Wow. The porn star. It's like better than The Bachelor . I thought it was only... USA late-night talk hosts. They always talk about Trump. I'm like, what are they going to do when he's gone? Because that's where they get all their material. They're talking about Trump. ES: Yeah, yeah. I think they're happy that he's back. Because now they know what to talk about again. WB: Yeah. I mean... I mean, how are they going to talk about... I don't know. About migrants at the Mexican border. But then... Without Trump. Exactly. That's... That's the whole... I mean, you know... Because you see it here. You see a little bit in Germany. Of the migration. Image Credits: Article References References About the author(s) Steve Earnest is a Professor of Theatre at Coastal Carolina University . He was a Fulbright Scholar in Nanjing, China during the 2019 – 2020 academic year where he taught and directed works in Shakespeare and Musical Theatre. A member of SAG-AFTRA and AEA, he has worked professionally as an actor with Performance Riverside, The Burt Reynolds Theatre, The Jupiter Theatre, Candlelight Pavilion Dinner Theatre, The Colorado Shakespeare Festival, Birmingham Summerfest and the Riverside Theatre of Vero Beach, among others. Film credits include Bloody Homecoming , Suicide Note and Miami Vice . His professional directing credits include Big River , Singin’ in the Rain and Meet Me in St. Louis at the Palm Canyon Theatre in Palm Springs, Musicale at Whitehall 06 at the Flagler Museum in Palm Beach and Much Ado About Nothing with the Mountain Brook Shakespeare Festival. Numer ous publications include a book, The State Acting Academy of East Berlin , published in 1999 by Mellen Press, a book chapter in Performer Training, published by Harwood Press, and a number of articles and reviews in academic journals and periodicals including Theatre Journal, New Theatre Quarterly, Western European Stages, The Journal of Beckett Studies and Backstage West . He has taught Acting, Movement, Dance, and Theatre History/Literature at California State University, San Bernardino, the University of West Georgia , the University of Montevallo and Palm Beach Atlantic University. He holds a Ph.D. in Theatre from the University of Colorado, Boulder and an M.F.A. in Musical Theatre from the University of Miami, FL. 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 The 2025 Festival International New Drama (FIND) at Berlin Schaubühne Editor's Statement - European Stages Volume 20 Willem Dafoe in conversation with Theater der Zeit The Puzzle: A new musical in the Spoleto Festival, Italy presented by La MaMa Umbria Varna Summer International Theatre Festival Mary Said What She Said The 62nd Berliner Theatertreffen: Stories and Theatrical Spaces That Realize the Past, Present and Future. Interview with Walter Bart (Artistic Leader, Wunderbaum Collective & Director, Die Hundekot-Attacke) from the 2024 Berliner Theatertreffen Duende and Showbiz: A Theatrical Odyssey Through Spain’s Soul Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

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

Support The Segal Center If you'd like to support our work to bring visibility to the performing arts through our programs, please consider making a donation to The Martin E. Segal Theatre Center. We are a 501(c) (3) not-for-profit organization and all gifts are tax-deductible to the extent allowed by law. You can also get in touch with other types of support, collaborations and partnerships. Get In Touch Donate Online Visit the link below to donate online. Under the field titled 'Designation', choose 'Funds for The Martin E. Segal Theatre Center' Proceed to fill in your details. Any and all amounts are welcome. You will receive an email confirmation immediately. We will send across a tax receipt (including the amount and confirmation the designation) shortly. Proceed You will be redirected to The Graduate Center Foundation CUNY donation portal (external link) Donate via Cheque You can also donate with checks. Payable to: The Graduate Center Foundation, Inc. Memo: MESTC or Segal Center Mailing Address: Martin E. Segal Theatre Center, Graduate Center CUNY, 365 Fifth Avenue New York, NY 10016

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HONORING PAULA COURT presents Prelude 2024 Opening Ceremony at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Prelude 2024 Opening Ceremony HONORING PAULA COURT 4:00 - 4:50pm Wednesday, October 16, 2024 Elebash Recital Hall Lobby RSVP Prelude 2024 begins with an opening ceremony to honor photographer Paula Court with the 2024 Franky Award. Please join us in the Elebash lobby as we toast Paula's work and legacy and kick off the festival! Light refreshments will be served. Named in honor of MESTC Executive Director and Prelude founder Dr. Frank Hentschker, the Franky Award was created to recognize an artist who has made a long-term, extraordinary impact on contemporary theater and performance in New York City. Paula Court has been documenting theater, dance, and music in New York City since 1976. Over many decades, she has photographed the work of the Wooster Group, John Jesurun, Eric Bogosian, Jo Andres, Richard Foreman’s Ontological-Hysteric Theater, Michael Smith, DANCENOISE, and Sarah Michelson. In a 2024 essay on Paula Court for Topical Cream , critic Stella Cilman astutely observed, “Court’s photos access a subterranean psychological space that transcends any particular aspect of a given scene—the single gesture of an actor or a particular architectural detail near them. Her purview emphasizes the gestalt, embracing all the coincidental, chaotic, and awkward natures of people and things as they happen to interact.” Her images can be seen in New York Noise: Art and Music from the New York Underground 1978-88 ; PERFORMA: NEW VISUAL ART PERFORMANCE ; and the forthcoming Broken Clothing: the Costumes of Suzanne Bocanegra. Currently Paula is faced with very serious health issues that require immediate and ongoing assistance. A group of friends have joined with Paula’s family to raise the funds needed to provide Paula with excellent in-home care and the specialized physical therapy she urgently needs. Their goal was to raise $50,000 to support her initial recovery for six months, and they achieved this goal. They continue to fundraise to help see Paula through to the end of 2024 as they work on other ways to generate income from her life's work. As they rightfully note: “Paula has donated endless hours capturing New York’s underground art, dance and music scene, while tirelessly advocating for artists and documenting ephemeral moments to provide us with a collective memory.” If you are able to donate, please do so here . Your contribution is tax deductible and will be directed toward Paula's healthcare costs minus the fees charged through this platform. If you would like to provide a check or wire, please contact Esa Nickle at esa@performa-arts.org . Performa is a 501c3 non-profit organization and is acting as a fiscal sponsor of the preservation fund. 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). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

NEEDY LOVER | ASHIL LEE + PHOEBE BROOKS | PAUL LAZAR + JERRY LIEBLICH / THIRD EAR presents Plays in Process at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Plays in Process NEEDY LOVER | ASHIL LEE + PHOEBE BROOKS | PAUL LAZAR + JERRY LIEBLICH / THIRD EAR 1:30-3 pm Saturday, October 19, 2024 The Segal Theatre RSVP 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 portable is a breeding ground for lobsters. ROOTING FOR YOU Presenting an excerpt from Rooting for You! with loose staging, experimenting with performance style, timing, and physicality. Rooting for You! blurb: "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." THE BARBARIANS 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. LOBSTER Special Thanks: Meghan Finn, Johnny G. Lloyd, and The Tank; Erin Courtney, Zayd Dohrn, Thomas Bradshaw, and Northwestern University. The Barbarians is produced in association with Immediate Medium, and with support from the Venturous Theater Fund of the Tides Foundation 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). Kallan Dana is a writer and performer originally from Portland, Oregon. She has developed or 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 a 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 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) 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. 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. 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). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

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. 2025 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 (and a few at the Anthology Film Archives) whilst others will be available to watch online on this website until June 8th 2025. SEE IN-PERSON SCHEDULE Festival Lineup IN-PERSON Acting Sophie Fiennes; Cheek by Jowl; Lone Star; Amoeba Film IN-PERSON Grand Theft Hamlet Sam Crane & Pinny Grylls IN-PERSON Moi-même Mojo Lorwin/Lee Breuer IN-PERSON Radical Move ANIELA GABRYEL ONLINE + IN-PERSON Somber Tides Chantal Caron / Fleuve Espace Danse IN-PERSON This is Ballroom Juru and Vitã ONLINE + IN-PERSON Benjamim de Oliveira's Open Paths Catappum! Collective IN-PERSON His Head was a Sledgehammer Richard Foreman in Retrospect ONLINE + IN-PERSON PACI JULIETTE ROUDET IN-PERSON Reas Lola Arias IN-PERSON The Brink of Dreams Nada Riyadh, Ayman El Amir IN-PERSON Transindigenous Assembly Joulia Strauss IN-PERSON Bila Burba Duiren Wagua IN-PERSON JJ Pauline L. Boulba, Aminata Labor, Lucie Brux ONLINE + IN-PERSON Peak Hour in the House Blue Ka Wing ONLINE + IN-PERSON Resilience Juan David Padilla Vega IN-PERSON The Jacket Mathijs Poppe ONLINE + IN-PERSON Funambulism, Hanging by a Thread Jean-Baptiste Mathieu ONLINE + IN-PERSON Jesus and The Sea Ricarda Alvarenga IN-PERSON Pidikwe Caroline Monnet ONLINE + IN-PERSON Skywalk Above Prague Václav Flegl, Jakub Voves ONLINE + IN-PERSON Theater of War Oleh Halaidych In-Person Screenings at The Martin E. Segal Center (365 5th Ave, New York) and Anthology Film Archives (32 2nd Ave, New York) Google Maps Google Maps Thursday May 15 1:00 pm Resilience by Juan David Padilla Vega (Canada, 2024, 70’) U.S. PREMIERE 2:20 pm JJ by Pauline L. Boulba and Aminata Labor (France, 2024, 72’) 4:00 pm This is Ballroom by Vita and Juru (Brazil, 2024, 92’) 5:50 pm Transindigenous Assembly by Joulia Strauss (Greece, 2024, 86’) 7:25 pm Radical Move by Aniela Gabryel (Poland, 2023, 77’) NORTH AMERICAN PREMIERE RSVP Day 1 Friday May 16 12:00 pm Bila Burba by Duiren Wagua (Panama, 2023, 70’) 1:20 pm Acting by Sophie Fiennes (UK, 2024, 145’) U.S. PREMIERE 3:55 pm The Jacket by Mathijs Poppe (Belgium, Netherlands, France, Lebanon, 2024, 71’) U.S. PREMIERE 5:15 pm Brink of Dreams by Nada Riyadh, Ayman El Amir (Egypt, France, Denmark, Qatar, Saudi Arabia, 2024, 102’) Special section SPOTLIGHT ON BASINGA 7:10 pm Funambulism, Hanging by a Thread by Jean-Baptiste Mathieu (Germany, 2024, 52’) NORTH AMERICAN PREMIERE 8:10 pm Skywalk above Prague by Václav Flegl, Jakub Voves (Czech Republic, 2020, 51’) NORTH AMERICAN PREMIERE RSVP Day 2 Saturday May 17 11:00 am SHORT FILMS PROGRAM Benjamin de Oliveira’s Open Paths by Bruno Esperança (Brazil, 2024, 37’) U.S. PREMIERE Peak Hour in the House by Blue Ka Wing (Honk Kong, 2024, 7’) Paci by Juliette Roudet (France, 2024, 33’) NORTH AMERICAN PREMIERE Jesus and the Sea by Ricarda Alvarenga (Brazil, 2024, 3’) Somber Tides by Chantal Caron (Canada, 2024, 12’) N.Y. PREMIERE Theater of War by Oleh Halaidych (Ukraine, 2024, 40’) U.S. PREMIERE Pidikwe by Caroline Monnet (Canada, 2024, 10’) U.S. PREMIERE 1:25pm Grand Theft Hamlet by Pinny Grylls, Sam Crane (UK, 2024, 90’) RSVP Day 3 Sunday May 18 3:00 pm SPECIAL FESTIVAL PRESENTATION AT ANTHOLOGY FILM ARCHIVES (32 Second Avenue New York, NY 10003) Reas by Lola Arias (Argentina, Germany, Switzerland, 2024, 82’) RSVP at AFA Wednesday May 21 to Wednesday May 28 HIS HEAD WAS A SLEDGEHAMMER: RICHARD FOREMAN IN RETROSPECT AT ANTHOLOGY FILM ARCHIVES Guest-programmed by Andrew Lampert. The retrospective is co-presented by New York University Special Collections, home to the Richard Foreman and Kate Manheim Papers, and The Segal Center Film Festival on Theatre and Performance. For full schedule of the retrospective go to this LINK . 3:00 pm SPECIAL FESTIVAL PRESENTATION AT ANTHOLOGY FILM ARCHIVES (32 Second Avenue New York, NY 10003) Moi-Même by Mojo Lorwin & Lee Breuer (France, US, 1968/2024, 65 min, 16mm-to-DCP) followed by Q&A with Mojo Lorwin and Kevin Mathewson, moderated by Frank Hentschker RSVP at AFA 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 2025 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 a cultural manager, producer and curator with over 20 years of experience in production of international cultural events and extensive knowledge in cultural diplomacy. He has produced projects with leading U.S. institutions, including BAM, MoMA, Film at Lincoln Center, Anthology Film Archives, MoMI, 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

LESLIE CUYJET, FRANCESCA D'UVA, MORIAH EVANS + KATIANA GONÇALES RANGEL presents Group Date: a conversation at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Group Date: a conversation LESLIE CUYJET, FRANCESCA D'UVA, MORIAH EVANS + KATIANA GONÇALES RANGEL 6-6:50 pm Thursday, October 17, 2024 Elebash Recital Hall RSVP Join us for a conversation between Prelude 2024 artists Leslie Cuyjet, Francesca D’Uva, Moriah Evans, and Katiana Gonçales Rangel. Prelude 2024 features artists working in different corners of the New York performance scene. These Group Date conversations present an opportunity to foster connections, new and otherwise, between the festival’s featured artists. 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). Leslie Cuyjet is a performer, artist, and writer based in Brooklyn, NY. More information at lesliecuyjet.com Francesca D'Uva is an experimental comedian living in Brooklyn. Often employing her background in electronic music, she alternates between improvised storytelling and meticulously crafted mini-musicals that take the audience on a chaotic and strange journey inside her mind. She has performed all around New York City and at venues like MoMA PS1, MOCA and Ars Nova. Francesca was the 2022 Performance AIRspace Resident at Abrons Arts Center, culminating in her solo show, This Is My Favorite Song , which will have its Off-Broadway premiere at Playwrights Horizons in November. Moriah Evans positions choreography as an expansive social process. Drawing on somatic choreographic practices and feminist critiques of dance and visual culture, her works expand dance beyond the visible, to explore different ways of sensing both ourselves and our relationships to one another. In Evans’ practice, one work leads to the next, each project forming a chapter in her ongoing process to inspire transformation–both physical and psychosocially–through action. Evans creates site-specific performances, theater-based productions, gallery and museum-based participatory installations, symposiums, theoretical texts, and curatorial projects. Recent works include: Remains Persist (MOCA LA, CA, 2023; Performance Space New York, NY, 2022); Out of and Into: PLOT (Museion, Bolzano/Bozen, Italy, 2023); Rehearsals for Rehearsal (Public Art Fund, NY, 2022); RESTOS (Espacio Odeon, Bogota, Colombia, 2021); REPOSE (Beach Sessions, ΝY, 2021); Be My Muse (Pace Live, NY, 2021; Hirshhorn Museum, DC, 2018; FD-13 Minneapolis, 2017); Configure (The Kitchen, NY, 2018) and Figuring (SculptureCenter, NY, 2018). Evans has been honored with (among others): a 2023-2024 Hodder Fellowship, a 2022 Guggenheim Fellowship and a 2017 Foundation for Contemporary Arts, Grants to Artists. Evans initiated The Bureau for the Future of Choreography (2011-ongoing)—a collective investigating participatory performance. She was Editorial Director, Editor-in-Chief and Managing Editor of Movement Research Performance Journa l (2013-2022); Tanzkongress Curatorial Advisor (2017-2019); Dance & Process Co-Curator (The Kitchen, 2016-2023). Evans has a BA in Art History & English, Wellesley College, and MA in Art History, Theory, and Criticism from UCSD. Katiana Gonçales Rangel is a performer, director and educator from Brazil based in NYC. They have been creating independent theater work since 1998. Their most recent work Ama The Diver (2023/2024), in collaboration with Jim Fletcher and the cellist Lori Goldston, was performed in NYC, Portland and Seattle. Katiana has been creating documentary theater work with immigrant New Yorkers since 2014 with Incoming Theater Division (ITD), a branch of the company New York City Players, and has been ITD director since 2020. In 2024, the group performed La Casa de Bernarda Alba in Spanish language directed by Richard Maxwell. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

[CANCELLED] HOLLAND ANDREWS + YUNIYA EDI KWON presents [CANCELLED] How does it feel to look at nothing (excerpt) at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 [CANCELLED] How does it feel to look at nothing (excerpt) [CANCELLED] HOLLAND ANDREWS + YUNIYA EDI KWON 4-4:50 pm Friday, October 18, 2024 The Segal Theatre RSVP Please note this event has been cancelled. An embodied affirmation of trans futures amidst the disintegrative reality of trans life, How does it feel to look at nothing is an experimental opera and pre-origin story of a Deity of Namelessness. Co-created, co-directed, and performed by Holland Andrews and yuniya edi kwon, the work is currently in development and will premiere in Fall 2026. For PRELUDE, Andrews and kwon perform excerpts from the work-in-progress. 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). Holland Andrews (b. 1988) is a vocalist, composer, music producer, and performer whose work focuses on the abstraction of operatic and extended-technique voice to build cathartic and dissonant soundscapes. Andrews arranges music for voice, clarinet, and electronics, frequently highlighting themes surrounding vulnerability and healing. Andrews harnesses these instruments’ innate qualities of power and elegance to serve as a cohesive vessel for these themes. As a vocalist, their influences stem from a dynamic range including contemporary opera, American experimentalism, musical theater, and jazz, while also cultivating their unique vocal style which integrates these influences with language disintegration, vocal distortion, and environmental ambiance. In 2024, Andrews was selected as one of 71 artists for the Whitney Museum of American Art’s Biennial Even Better Than The Real Thing . For the biennial, Andrews composed two sound installations for the museum, the 5-channel Air I Breathe: Radio for its main stairwell, Hyperacusis (Version One, Sleeping Bag) for its large freight elevator, as well as a new composition for live solo performance, titled Speaker . In addition to creating solo work, Andrews composes and performs for dance, theater, and film, and their work is toured nationally and internationally with artists such as Bill T. Jones, Dorothee Munyaneza, Will Rawls, Sonya Tayeh, Jenn Freeman, and poet Demian Dinéyazhi. Andrews has gained recognition from publications such as The Wire, The New York Times, Vogue, Le Monde, and BBC Radio. Holland Andrews is currently based in Brooklyn, New York. Andrews is a Foundation for Contemporary Arts Awardee in Music/Sound (2023) and a United States Artists Fellow (2024). yuniya edi kwon (b. 1989) is a composer-performer, violinist, vocalist, and interdisciplinary performance maker based in Lenapehoking, or New York City. Her practice connects composition, improvisation, movement, and ceremony to explore transformation & transgression, ritual practice as a tool to queer space & lineage, and the use of mythology to connect, obscure, and reveal. As a composer and improviser, she is inspired by Korean folk timbres & inflections, textures & movement from natural environments, and American experimentalism as shaped by the Association for the Advancement of Creative Musicians (AACM). Her work as a performance and movement artist embodies an expressive release and reclamation of colonialism’s spiritual imprints, connecting to both Japanese Butoh and a lineage of queer trans practitioners of Korean shamanic ritual. In addition to an evolving, interdisciplinary solo practice, she performs and collaborates with artists of diverse disciplines, including The Art Ensemble of Chicago, Senga Nengudi, Du Yun, Tomeka Reid, International Contemporary Ensemble, Kenneth Tam, and Degenerate Art Ensemble. Her work has been presented by Dia Art Foundation, Performa Biennial, National Sawdust, Harlem Stage, Asia Society New York, Roulette Intermedium, New York Live Arts, Bang on a Can, and Civitella Ranieri Foundation, among others. She is a recipient of the Foundation for Contemporary Arts Robert Rauschenberg Award in Music/Sound, an Arts Fellow at Princeton University’s Lewis Center for the Arts, a Johnson Fellow at Americans for the Arts, and a United States Artists Ford Fellow. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Get In Touch For inquiries, feedback, or any other information, please don't hesitate to contact us: Telephone: 212-817-1860 Email: mestc@gc.cuny.edu Address: The Martin E. Segal Theatre Center The Graduate Center, CUNY 365 Fifth Avenue, Room 5303New York, NY 10016-4309 Send Thank You for Contacting Us!

SKELETON ARCHITECTURE presents Skeleton Architecture at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Skeleton Architecture SKELETON ARCHITECTURE 6:30-7:20 pm Wednesday, October 16, 2024 The Segal Theatre RSVP Skeleton Architecture is a vessel of Black womyn and gender non-conforming artists rooted in the rigor and power of the collective. In practice, Skeleton Architecture engages in embodied research towards the vital building of our Black collective. The body, the practice, and the corporeal and cognitive legacies in the room will inspire a diverse range of group activities and offerings to the public wherein we seek to define our work together further. As Black improvisers, we are eager to share our ongoing "research with the body." Presenting at PRELUDE: Davalois Fearon, Jasmine Hearn, Marguerite Hemmings, Angie Pittman, Charmaine Warren, Marýa Wethers, and Tara Aisha Willis. 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). The Skeleton Architecture collective was formed from the Danspace Project’s Platform 2016: Lost & Found in a singular, Bessie Award-winning evening called “the skeleton architecture, or the future of our worlds,” curated by guest curator Eva Yaa Asantewaa. The performance included: Maria Bauman, Sidra Bell, Davalois Fearon, Marjani Forté-Saunders, Melanie Greene, Kayla Hamilton, Jasmine Hearn, Marguerite Hemmings, Nia Love, Paloma McGregor, Sydnie L. Mosley, Rakiya Orange, Leslie Parker, Angie Pittman, Samantha Speis, Charmaine Warren, Marýa Wethers, Edisa Weeks, Ni’Ja Whitson, and Tara Aisha Willis. Explore more performances, talks and discussions at PRELUDE 2024 See What's on

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Watch MUSE by Pete O'Hare/Warehouse Films at the Segal Film Festival on Theatre and Performance 2024. An intimate journey with the founder of a one-of-a-kind circus space hanging on by a thread in Brooklyn, NY. The Martin E. Segal Theater Center presents MUSE At the Segal Theatre Film and Performance Festival 2024 A film by Pete O'Hare/Warehouse Films Theater, Circus / Movement, Documentary, Performance Art This film will be available to watch online on the festival website May 16th onwards for 3 weeks, and it will also be screened in-person on May 20th. About The Film Country United States Language English Running Time 10 minutes Year of Release 2024 An intimate journey with the founder of a one-of-a-kind circus space hanging on by a thread in Brooklyn, NY. Director/Producer/DP: Pete O'Hare Editor: Raven Dahlin Score: Forest Christenson About The Artist(s) Pete O’Hare is an Emmy-nominated Director and Cinematographer based in New York City, born and raised in Cleveland, OH. Coming from a musical background, he loves how a well-composed frame can transport you to another place. Pete directed the mini documentaries "A Day In September" and "Baby Boy A", and has filmed for ESPN+, Netflix, McDonald’s, General Electric, 3M, New York Knicks, NBC, MTV, National Geographic, Samsung, Verizon, Sprint, Whole Foods, and Vogue Italia, among others. Get in touch with the artist(s) pete@warehousefilms.com and follow them on social media https://www.peteohare.com/, https://vimeo.com/peteohare, https://www.instagram.com/pete_ohare/ 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

IT'S A PARTY!! presents Prelude 2024 Closing Party at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Prelude 2024 Closing Party IT'S A PARTY!! 9pm Sunday, October 20, 2024 The Tank, 312 West 36th Street RSVP Join us to celebrate Prelude with a closing party at The Tank! Additional details to be announced soon. 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). Explore more performances, talks and discussions at PRELUDE 2024 See What's on

NOELLE GHOUSSAINI presents A shadow of light: a ritual gathering at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 A shadow of light: a ritual gathering NOELLE GHOUSSAINI 4-4:50pm Thursday, October 17, 2024 The Segal Theatre RSVP A shadow of light: a ritual gathering offers a mystical experience of homecoming. Bringing together embodied meditation, a collective altar, performance & ritual, we gather in sacred connection to honor our bodies, spirits, ancestors & our natural belonging to each other & the earth. Rooted in the belief that communal sacred spaces are essential to our collective wellbeing and liberation, participants are invited to both witness and take part in this ritual gathering. An iteration of a shadow of light was explored & developed at the Mercury Store in 2023. 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). Noelle Ghoussaini (she/her) creates performance, ritual and sacred gathering with and for community. Each embodied experience aims to nurture freedom in the very fabric of our being; cultivating connection with our inherent belonging to the world around and within us. Noelle works at sites ranging from public parks to detention centers, from theatres to community spaces. As a Lebanese-American who grew up across three continents, Noelle is dedicated to collective liberation & decolonial creative practice; her visions thread together artistic and sacred spaces of homecoming. www.noelleghoussaini.com @noelleghoussaini Explore more performances, talks and discussions at PRELUDE 2024 See What's on

Watch QUEENDOM by Agniia Galdanova at the Segal Film Festival on Theatre and Performance 2024. Like a young David Bowie from another planet, the whole world is one giant catwalk for intrepid 21-year-old queer artist Gena. She grew up in the far reaches of Russia, in a town built on top of an old gulag camp. Today, she stages her radical performances in supermarkets, metro stations and in the middle of Moscow streets in an alternative protest against the way LGBTQ+ people are treated in Putin’s extremely conservative Russia. People shout at her, and Gena calmly responds. With never-failing support from her grandmother, she acts out all the creatures that live inside her through her spectacular costumes, which she often makes out of tape and junk. Agniia Galdanova’s beautiful and atmospheric film is not so much a portrait as it is a direct cinematic extension of Gena’s inner universe. In other words, a film in the field between art and activism, between documentary and science fiction, and between an old and a young Russia. The Martin E. Segal Theater Center presents QUEENDOM At the Segal Theatre Film and Performance Festival 2024 A film by Agniia Galdanova Documentary, Performance Art This film will be screened in-person on May 16th About The Film Country United States / France Language Russian, English Running Time 98 minutes Year of Release 2023 Like a young David Bowie from another planet, the whole world is one giant catwalk for intrepid 21-year-old queer artist Gena. She grew up in the far reaches of Russia, in a town built on top of an old gulag camp. Today, she stages her radical performances in supermarkets, metro stations and in the middle of Moscow streets in an alternative protest against the way LGBTQ+ people are treated in Putin’s extremely conservative Russia. People shout at her, and Gena calmly responds. With never-failing support from her grandmother, she acts out all the creatures that live inside her through her spectacular costumes, which she often makes out of tape and junk. Agniia Galdanova’s beautiful and atmospheric film is not so much a portrait as it is a direct cinematic extension of Gena’s inner universe. In other words, a film in the field between art and activism, between documentary and science fiction, and between an old and a young Russia. In press notes About The Artist(s) in press notes Get in touch with the artist(s) igormyakotin@gmail.com and follow them on social media 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

ASHIL LEE, LÉOH HAILU-GHERMAY, AMANDA HOROWITZ + S T A R R BUSBY presents Group Date: a conversation at the PRELUDE 2024 Festival at the Martin E. Segal Theater Center CUNY. PRELUDE Festival 2024 Group Date: a conversation ASHIL LEE, LÉOH HAILU-GHERMAY, AMANDA HOROWITZ + S T A R R BUSBY 4:30-5:20 pm Friday, October 18, 2024 Elebash Recital Hall RSVP Join us for a conversation between Prelude 2024 artists S T A R R busby, Léoh Hailu-Ghermay, Amanda Horowitz, and Ashil Lee. Prelude 2024 features artists working in different corners of the New York performance scene. These Group Date conversations present an opportunity to foster connections, new and otherwise, between the festival’s featured artists. 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). S T A R R busby (they/she/he/we - all pronouns said with respect) is a Black experimental artist who sings, acts, composes, educates, and is committed to the liberation of all people. A recent recipient of a NYSCA grant, S T A R R leads a music project under their name which will release a debut project in 2024 - Working Up A Surrender . She is also the lead singer of dance&b band People's Champs ( www.peopleschampsnyc.com ) which released their latest project, Show Up, in the Fall of 2023. S T A R R has also supported and collaborated with artists such as The Gorillaz, Esperanza Spalding, Son Lux, X Ambassadors, Kimbra, Alice Smith, and Quelle Chris. Selected credits: If You Unfolded Us (Sable Elyse Smith, MoMA); Rest Within the Wake (James Allister Sprang, Baryshnikov Arts Center, Featured Soloist); (pray) (Ars Nova and National Black Theatre, A Singer, Composer, and Music Director)*Lucille Lortel Award Winner; The Beautiful Lady (La Mama, Boris); On Sugarland (NYTW, co-composer); Octet (Signature Theatre, Paula) *Drama Desk Award Winner; Mikrokosmos, Sterischer Herbst (Graz), Nottingham Contemporary; The Girl with the Incredible Feeling , Spoleto Festival dei Due Mondi. All music available via Bandcamp and all streaming services. Love, gratitude and ashé to my blessed honorable ancestors, especially MME. linktr.ee/S_T_A_R_R Léoh Hailu-Ghermay is a first generation Tigrayan-American, Black queer artist, activist, and law student living on occupied Munsee-Lenape and Canarsie Land (Brooklyn, NY). Select theater/performance art credits: Phyllida in Galatea (Flea Theater), Euridike in Antigonick (Playwrights Horizons), Bonzai/Husband in The Good Person of Setzuan (Atlantic Stage 2), Soloist in The Rave Revue (Prospect Theater Co.), Newmama in Letters in the Dirt (The Brick), Kunty Kracker Kyle in Chaotic Good (The Tank), and Mrs. Jennings in Episode (Metropolitan Playhouse). They’re thrilled to be showing their Work in Progress at Prelude! Amanda Horowitz is an interdisciplinary artist working between performance and sculpture. She writes and directs theater using experimental and collaborative methods. Past performance projects include: Heavenly Fools (Mason Gross Playwrights Festival, 2023), Bad Stars (2023, STARS Gallery), Bad Water True West (2022, Bad Water Gallery), Suddenly, This Summer (2019, PAM), The Plumbing Tree (by Medium Judith, 2018/19, Highways Performance Space and Human Resources LA). She was the co-founder and director of Medium Judith (extg, 2013-2019), a theater collaboration with Bully Fae Collins. Amanda holds a double MFA in Visual Art and Playwriting from Rutgers University. 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) 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 Explore more performances, talks and discussions at PRELUDE 2024 See What's on