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Watch Die Kinder der Toten by Nature Theater of Oklahoma:Kelly Copper and Pavol Liska at the Segal Film Festival on Theatre and Performance 2024. Nature Theater of Oklahoma ventures the impossible: creating a film version of Elfriede Jelinek’s 666 page novel “Die Kinder der Toten”, an (as yet) untranslated German language masterpiece in which all the main characters are all undead, mute zombies… In September 2017 directors Kelly Copper and Pavol Liska worked on location in the Styrian mountainside town of Neuberg am der Murz with local citizens, farmers, grocers, brass bands, the fire department — even mountain rescue! — to stage some pretty awesome participatory theater, and eventually create what is sure to be a one-of-a-kind supernaturally super 8 film… The Martin E. Segal Theater Center presents Die Kinder der Toten At the Segal Theatre Film and Performance Festival 2024 A film by Nature Theater of Oklahoma:Kelly Copper and Pavol Liska Theater, Film This film will be screened in-person on May 20th and also be available to watch online on the festival website May 16th onwards for a period of 3 weeks. About The Film Country Germany Language German Running Time 90 minutes Year of Release 2019 Nature Theater of Oklahoma ventures the impossible: creating a film version of Elfriede Jelinek’s 666 page novel “Die Kinder der Toten”, an (as yet) untranslated German language masterpiece in which all the main characters are all undead, mute zombies… In September 2017 directors Kelly Copper and Pavol Liska worked on location in the Styrian mountainside town of Neuberg am der Murz with local citizens, farmers, grocers, brass bands, the fire department — even mountain rescue! — to stage some pretty awesome participatory theater, and eventually create what is sure to be a one-of-a-kind supernaturally super 8 film… Produced by Ulrich Seidl Filmproduktion Vienna 2019 in collaboration with Steirischer Herbst 2017 Cast Andrea Maier, Greta Kostka, Klaus Unterrieder, Georg Beyer i. a. Written, Filmed, Directed and Edited by Kelly Copper & Pavol Liska Producer Ulrich Seidl Artistic Collaboration Claus Philipp Co-Edited by Michael Palm Supervising Sound Designer Matz Müller Re-Recording Tobias Fleig Composer Wolfgang Mitterer Line Producer Georg Aschauer, Daniela Trauner Production Managers Jakob Schwighofer, Teresa-Saija Wieser Producer USFP Claus Philipp, Georg Aschauer About The Artist(s) Nature Theater of Oklahoma is an award-winning New York art and performance enterprise under the direction of Pavol Liska and Kelly Copper. With each new project, we attempt to set an impossible challenge for ourselves, the audience, and our collaborators — working from inside the codes and confines of established genres and exploding them. No two projects are formally the same, but the work is always full of humor, earnestness, rigor, and the audience plays an essential role -- whether as spectators or - just as often - as participants in the work. Using readymade material, found space, gifted properties, cosmic accident, extreme formal manipulation and plain hard work — Nature Theater of Oklahoma makes art to affect a shift in the perception of everyday reality that extends beyond the site of performance and into the world in which we live. Get in touch with the artist(s) naturetheater.private@gmail.com and follow them on social media https://oktheater.org/ 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

Watch ELFRIEDE JELINEK - LANGUAGE UNLEASHED by Claudia Müller at the Segal Film Festival on Theatre and Performance 2024. Child prodigy, scandalous author, traitor to the fatherland, feminist, fashion lover, communist, language terrorist, rebel, enfant terrible, nest fouler, brilliant, vulnerable artist. Claudia Müller's film about Elfriede Jelinek, who in 2004 was the first German speaking female writer to be awarded the Nobel Prize for Literature, focuses on her artistic approach to language. ELFRIEDE JELINEK - LANGUAGE UNLEASHED is a multi-layered, associative film portrait, full of contradictions; it approaches the linguistic montage technique of the artist from her very own close perspective. (production note) “Look at me NOW!” says Elfriede Jelinek at the beginning of ELFRIEDE JELINEK - LANGUAGE UNLEASHED. She holds a piece of paper up to the camera, which she lowers briefly to reveal her face. On the paper is an arithmetic problem that explains the image onscreen. It is an arrangement that forces us to read – or rather, we read in order to see – and Jelinek writes in order to be seen. Seeing, in the sense of recognizing. Jelinek is shown on the move, in Vienna and other cities, in different decades. The journey begins with the Nobel Prize – Jelinek was the first Austrian to receive the Nobel Prize in Literature – and works its way along specific themes that characterize the author’s work. Filmmaker Claudia Müller has made a name for herself with documentaries about such diverse personalities as Jenny Holzer, Shirin Neshat, VALIE EXPORT, and Helmut Lang. Here she works with her cinematographer Christine A. Maier with enthusiasm and aplomb, arranging current recordings and archive materials by, with, and about Jelinek into a portrait of the author. The range of the material is astonishing and manages to surprise again and again with something hitherto unknown. Müller and editor Mechthild Barth repeatedly opt for outtakes and peripheral materials, which allows us to enjoy film clips of Jelinek with her dog, for example, or holding a stack of prize money. They are images that offer resistance to the public image that is determined by a very different set of attributes. Texts read off-screen (by Stefanie Reinsperger and Sandra Hüller, among others) and material relating to dramatic events in contemporary Austrian history (such as the assassination of four Roma in Oberwart in 1995 and the massacre in Rechnitz in March 1945) complement the multi-layered collage of historical and contemporary materials. “... Everything has really been said,” Jelinek states towards the end. The author no longer appears in public nor explains anything. While Claudia Müller concentrates entirely on Jelinek’s work and thus her language, Müller’s film now gives us the opportunity to see – and to understand beyond one-dimensional causalities. (Sylvia Szely) The Martin E. Segal Theater Center presents ELFRIEDE JELINEK - LANGUAGE UNLEASHED At the Segal Theatre Film and Performance Festival 2024 A film by Claudia Müller Theater, Documentary This film will be screened in-person on May 18th. About The Film Country Germany, Austria Language German Running Time 96 minutes Year of Release 2022 Child prodigy, scandalous author, traitor to the fatherland, feminist, fashion lover, communist, language terrorist, rebel, enfant terrible, nest fouler, brilliant, vulnerable artist. Claudia Müller's film about Elfriede Jelinek, who in 2004 was the first German speaking female writer to be awarded the Nobel Prize for Literature, focuses on her artistic approach to language. ELFRIEDE JELINEK - LANGUAGE UNLEASHED is a multi-layered, associative film portrait, full of contradictions; it approaches the linguistic montage technique of the artist from her very own close perspective. (production note) “Look at me NOW!” says Elfriede Jelinek at the beginning of ELFRIEDE JELINEK - LANGUAGE UNLEASHED. She holds a piece of paper up to the camera, which she lowers briefly to reveal her face. On the paper is an arithmetic problem that explains the image onscreen. It is an arrangement that forces us to read – or rather, we read in order to see – and Jelinek writes in order to be seen. Seeing, in the sense of recognizing. Jelinek is shown on the move, in Vienna and other cities, in different decades. The journey begins with the Nobel Prize – Jelinek was the first Austrian to receive the Nobel Prize in Literature – and works its way along specific themes that characterize the author’s work. Filmmaker Claudia Müller has made a name for herself with documentaries about such diverse personalities as Jenny Holzer, Shirin Neshat, VALIE EXPORT, and Helmut Lang. Here she works with her cinematographer Christine A. Maier with enthusiasm and aplomb, arranging current recordings and archive materials by, with, and about Jelinek into a portrait of the author. The range of the material is astonishing and manages to surprise again and again with something hitherto unknown. Müller and editor Mechthild Barth repeatedly opt for outtakes and peripheral materials, which allows us to enjoy film clips of Jelinek with her dog, for example, or holding a stack of prize money. They are images that offer resistance to the public image that is determined by a very different set of attributes. Texts read off-screen (by Stefanie Reinsperger and Sandra Hüller, among others) and material relating to dramatic events in contemporary Austrian history (such as the assassination of four Roma in Oberwart in 1995 and the massacre in Rechnitz in March 1945) complement the multi-layered collage of historical and contemporary materials. “... Everything has really been said,” Jelinek states towards the end. The author no longer appears in public nor explains anything. While Claudia Müller concentrates entirely on Jelinek’s work and thus her language, Müller’s film now gives us the opportunity to see – and to understand beyond one-dimensional causalities. (Sylvia Szely) Director Claudia Müller Cinematography Christine A. Maier Composer Eva Jantschitsch Editing Mechthild Barth Sound Design Johannes Schmelzer-Ziringer Dramaturgical Advisor Brigitte Landes Narrator Ilse Ritter, Sophie Rois, Stefanie Reinsperger, Sandra Hüller, Martin Wuttke, Maren Kroymann Production Martina Haubrich, CALA Film, Claudia Wohlgenannt, Plan C Film Production Manager Hanne Lassl Participant Elfriede Jelinek Supported by Filmförderung der BKM (Beauftragte der Bundesregierung für Kultur und Medien), Arte, BR, DFFF, ÖFI - Österreichisches Filminstitut, Filmfonds Wien, FISA Filmstandort Austria, ORF Archival Research ORF Silvia Heimader About The Artist(s) Claudia Müller, born in 1964, is a German documentary filmmaker based in Berlin. She is known for her several excellent film portraits dedicated especially to international female artists. Müller has a profound knowledge of production and theory of contemporary art, as well as an intimate insight of the art scene; during almost three decades she has built up connections with artists all over the world. After her studies of German Literature, Journalism and Arts at Universities in Berlin and Cologne she worked with Peter Greenaway and Krzystof Zanoussi. Since 1991 she has been an independent television journalist and director, making numerous film documentaries. She founded her own production company PHLOX Films in 2007 (www.phlox-films.de ) Claudia Müller is particularly interested in the visual arts, with films presenting the work of artists such as Jenny Holzer (2009), Shirin Neshat (2010), Cindy Sherman (2009), Kiki Smith (2014), VALIE EXPORT (2015), Katharina Grosse (2020), Heidi Bucher (2021) as well as writer and theater director Hans Neuenfels (2011) and designer and artist Helmut Lang (2015). With her ongoing landmark documentary series Women Artists Claudia Müller has featured Katharina Grosse, Annette Messager, Berlinde de Bruyckere, Monica Bonvicini, Tatiana Trouvé, and Ursula von Rydingsvard. More than 80 female artists from varied geographical and cultural contexts have been represented in this comprehensive project. Her work has contributed to the ongoing debate on identity, gender, sexuality, feminism, female esthetics, and the visibility of women in the arts. The DVD was published by Walther König Publisher (2019). Her latest documentary series project, Art in the Desert, was broadcasted on Arte in 2019. Müller currently finished a feature-length documentary on the Austrian Nobel Prize winning writer, Elfriede Jelinek. Get in touch with the artist(s) dietmar@sixpackfilm.com and follow them on social media https://sixpackfilm.com/en/catalogue/filmmaker/7082/ 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

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

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

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 18, Fall, 2023 Volume Visit Journal Homepage Poetry on Stage: Games, Words, Crickets..., Directed by Silviu Purcărete By Ion M. Tomuș Published: November 26, 2023 Download Article as PDF The poetry recital in the Romanian performing arts landscape holds a special position which needs to be described in its general coordinates. First, before 1990 and the fall of the Iron Curtain, most poetry recitals given by Romanian actors were part of the job description of those with certain visibility. The poetry recital thus became, in most cases, a job obligation and part of the Communist party's propaganda. Of course, this situation meant that the relationship between the audience and those who recited poetry benefited from a special configuration, deeply marked by the social-cultural particularities of the period between 1947 and 1990. The patriotic poems that had to be recited by the Romanian actors were part of the communist propaganda and had nothing in common with real poetry. Socialist realism was expressed in the field of poetry in topics like outstanding crops, comrades who break new records in industrial production, or ones who work on the homeland’s great construction sites and compete with those around them. There was also the category of patriotic poetry in which the image of the supreme leader of the country and of the Communist party were praised. Moreover, during the last fifteen years of the Communist regime, there was a lot of insistence on the glorification of the presidential couple through poetry, a situation that now, almost 50 years later, seems completely ridiculous. Finally, the last major trend in the recitals of patriotic poetry before 1990 was represented by the reinterpretation of some of the great classical Romanian poets in a special key that served the purposes of propaganda. For example, in the work of Mihai Eminescu (the last great European romantic poet), the same propaganda identified certain elements that could be useful for its purposes, thus an important series of themes was diverted towards these ambitions. After 1990, Romanian society and the national artistic environment found themselves in a situation of total freedom of expression, and the transition was very sudden. The situation was similar in the whole of Eastern Europe and this new freedom was rather difficult for coping with not only for the artists but for the whole society. The world of theatre rightly tried to detach itself from the traumas during the Communist regime and establish a safe distance from the unfortunate clichés of the past, from the procedures and means of stage expression so well established during half a century of Communist propaganda. One of the genres that lost substantial ground, though, was exactly that of poetic recital. Most prominent Romanian actors avoided it because they wanted to evade the association with an outdated way of artistic expression which was for so long diverted from the true purpose of art - that of creating stimulating emotion. Of course, there were exceptions: those who understood the importance of poetry and emotion for the general audience. Several actors did not shy away from publicly reciting true poetry (as they did before 1990), insisting on artistic truth, emotion and value: Lucia Mureșan, Ovidiu Iuliu Moldovan, Ion Caramitru, Valeria Seciu, Ilinca Tomoroveanu, Traian Stănescu, Constantin Chiriac, Mircea Albulescu and others. Even more than others, Constantin Chiriac, from the very beginning of his career, understood the importance of “real” poetry in a society that responds to emotion and truth. Addressing the public through poetry and, thus, serving the community – this is the solid foundation on which he built his career as an actor. It is also crucial to note that he is the author of a doctoral thesis focused precisely on the act of interpreting and reciting poetry. His thesis has become a textbook for the poetry recital technique for students and professionals in the field of performing arts. Games, Words, Crickets... Photo: Dragos Dumitru. At Radu Stanca National Theatre in Sibiu, the theatrical autumn of 2022 was marked by the opening of Games, Words, Crickets… , directed by Silviu Purcărete: a performance of poetry by Constantin Chiriac, with the support of more than a dozen of the company’s actors who performed a series of stage exercises that derived from improvisations led by the director. The text of the performance was based on fragments from a diverse and surprising selection of Romanian and international poets: Carl Sandburg, Nazim Hikmet, Serghei Esenin, William Shakespeare, Paul Verlaine, Mihai Eminescu, Marin Sorescu, Radu Stanca, and others. Silviu Purcărete is a director who has made his audience expect to see in his shows a special dynamic involving usually a group of actors on stage who are driven by the energy and emotion instigated by improvisational exercises. Gulliver's Travels, Faust, Metamorphoses and The Scarlet Princess are just a few of the performances staged by him in Sibiu in which a group of actors acquires the consistency of a real character that is in direct relationship with the central performer (or performers). The performance of the group of actors is usually accompanied by music or is itself a music generator, the stage, thus, becoming a space where Silviu Purcărete creates a functional, extremely colorful, and diverse world—a universe that works according to its own special rules where this collective (but also individualized) character evolves and develops organically in their relationship with the main performer and the particularities of the space on stage and the universe in the script. This is also the general context for Games, Words, Crickets... : At the beginning on stage there are the main elements of a naive and picturesque winter universe. The snowmen melt, the carrot used as a nose falls off, the snowbanks also melt, the birds chirp. Then the white and cold nature transforms, and comes back to life, as a sign of a new beginning. It is with this sign that the show begins because we feel a state of expectation and impatience--an emotion like that in childhood at the reawakening of spring. Gradually the group of actors breaks away from the theme of the end of winter and of the new beginning, and start an exercise of balancing several dozen glasses on top of each other, in a scenic expression of fragility and transparency and, of course, of the joy of building a spectacular foundation marked by these coordinates. Constantin Chiriac, in his first moment on stage, makes use of Carl Sandburg (the story about the king and the shah from The People, Yes ) to start a captatio benevolentiae exercise, based on the textual formula specific to telling stories: “Once upon a time...” In this way, he establishes the dramatic convention, opens the story, and initiates the magic of emotion. The script never aims to tell a story, which is a rarity for Silviu Purcărete, a director who has adapted some of the most important stories from world literature and drama: One Thousand and One Nights, Gulliver's Travels, Pantagruel , etc. This time, more than ever before, he uses the text as a pretext and the main intention is to create emotion. The protagonist of the show, Constantin Chiriac, is configured as an ordinary character in a light-colored costume, who stands out in the chromatics and the special configuration of the stage, as implemented by Dragoș Buhagiar, the set designer. Of course, the commonality of the character reciting poems is an element sought out by the director and well assumed and carried out by the actor. Through this artistic approach, the poetic text is emphasized in all its nuances and labyrinthine, deep, extremely differing substrata, both for the performer and the audience. In addition, the stage direction of the performance is extremely attentive to the means of expression of the character who recites the poems: his banality is not pushed into an existentialist zone, as is the one in which, for example, Ionesco's famous Béranger works. On the contrary, Silviu Purcărete places his actor, Constantin Chiriac, in a detached area, where the great questions raised by the text have a welcomed ludic counterpoint, assumed both by the role itself and by the group of actors on stage, who develop and continue their improvisations in parallel with the poetry in the text. Performing arts professionals know very well the fundamental difficulties related to expressing poetic texts on stage. The enunciation that reaches the audience must be precisely distilled by the performer and a truly interdisciplinary approach to the text is needed. Philology, as a field that is tangential to dramaturgy, is particularly useful in this sense, because it may offer a helpful set of theoretical tools that may help in this whole endeavor. The technique of the poetry recital requires the development of an activity that is, to a great extent, similar to that of a detective: good knowledge of all the nuances of the text and the entire work of the poet (for the best possible selection of texts), and also identification of several cores of the poetic text that will later be used by the performer and passed on to the public. In addition to all this, it is essential to establish a possible dialogue in the text that is spoken on stage, which can then be verbalized and delivered with theatrical means. This is, for example, why conceptual poetry is so difficult to recite on stage. Through the main performer and the group of actors who carry out the improvisation exercises, Games, Words, Crickets establishes a dialogue that works in several ways, all of which are suffused with emotion. First of all, the dialogue between the protagonist and the audience should be mentioned. The foundation on which it is built is the poetry recited by Constantin Chiriac, which does not communicate a precise content of ideas or facts, as the audience is used to when going to the theatre, but focuses on the delivery of emotion from the poetic text. The “sender” (the protagonist) may use means that are sometimes theatrically exaggerated and dissolve the fourth wall of the stage. Theatrical convention and the routines of watching a theatrical performance may make the audience see a character in the protagonist. However, the director's stage reality proposes a concept that uses poetry to convey not ideas and facts, but emotion. The script is not made up of a chain of events that link together to build up dramatic tension and reach a climax, but of successive emotions, which are communicated by the protagonist to the audience through often playful means and the goal is the creation and the stage configuration of a whole universe, with its special rules, in which not only those on the stage but the entire audience take refuge. Furthermore, also regarding the decomposition of the poetic text and the identification of dialogue vectors, it is essential to detail one of the most important moments of the performance: two life-size marionettes, copies of the protagonist, appear on stage, manipulated by the actors. The marionettes become part of the mechanism that configures the dialogue: the performer is in a communicative relationship with these marionettes. Questions are answered; answers generate new questions; the poetic text, loaded with deep philosophical meanings, becomes more and more accessible to the general audience, without its universe of meanings being altered. Moreover, for one of Mihai Eminescu’s poems, approaching the possible dialogue with ludic means on a theatre stage implies a happy adaptation to the horizon of expectations of the contemporary spectator. The world is now fast, communication has changed enormously in the last decades, and identifying new nuances and levels in the process of delivering the poetic text to the public through a (re)configuration of the dialogue may be a useful and rewarding approach. Finally, the two marionettes convey extra theatricality and fit perfectly into the characteristics of Silviu Purcărete's theatrical universe: the apparent grotesqueness of the images is augmented by dialogue, emotion, and playfulness. The music of the show is composed by Vasile Şirli and is a complex of sounds that accompany the stage actions and the emotions transmitted by the protagonist to the audience. The sounds are created spontaneously, on stage, under the gaze of the spectators, and in a close relationship with the text, which emphasizes the playfulness mentioned earlier. Furthermore, when the protagonist and the improvisations of the group of actors are accompanied by recorded music, it joins the general tones of an open and bright space. The playfulness that marks the whole show is accentuated by the set design signed by Dragoș Buhagiar: the space is wide open, referring to the universality of poetry, the colors are bright, so that the lights can provide nuances and brilliance, or even texture to all the images. Games, Words, Crickets... Photo: Dragos Dumitru. The group of actors behind the protagonist (seventeen of them) behaves as a parallel mechanism which associates with the poetic text, enhances its potential, and completes it, or ironizes the actions on stage. Their costumes are also light-colored (shirts and shorts with suspenders)—a reference to a possible eternal childhood associated with playfulness. The games primarily belong to the group of actors. This suggests a character that stands out from the crowd or, on the contrary, a comic-grotesque uniformity caused by the masks they wear at a certain point. In Games, Words, Crickets... , the seventeen who accompany the protagonist on stage have the precise role of increasing the playfulness of the whole artistic endeavor. Finally, one last thing to be emphasized: in an artistic and social context marked by a troubled and complex reality, Silviu Purcărete turns to true poetry in order to create a sensitive and emotional show. He has been known as a creator of poetry on stage through the images and energies of his performances. In Games, Words, Crickets... we have the opportunity to see how he uses a selection from the world's great poetry to enhance his own stage emotion. Image Credits: Article References References About the author(s) Dr. Ion M. Tomuș is a Professor at “Lucian Blaga” University, Sibiu, the Department of Drama and Theatre Studies, where he teaches courses in History of Romanian Theatre, History of Worldwide Theatre, Text and Stage Image and Drama Theory. He is member of the Centre for Advanced Studies in the Field of Performing Arts (Cavas). In 2008 he received his PhD from the National University of Drama and Film, Bucharest, with a doctoral thesis entitled Realist and Naïve Picturesqueness in Vasile Alecsandri’s, I. L. Caragiale’s, and Eugene Ionesco’s Plays and Their Stage Adaptations. In 2013 he finished a postdoctoral study together with the Romanian Academy, focused on the topic of the modern international theatre festival, with case studies on the Edinburgh International Festival, Festival d’Avignon, and Sibiu International Theatre Festival. He has published studies, book reviews, theatre reviews, and essays in prestigious cultural magazines and academic journals in Romania and Europe. Since 2005, he has been co-editor of the annual Text Anthology published by Nemira Publishing House for each edition of the Sibiu International Theatre Festival. Since 2005, Mr. Tomuș is part of the staff at the Sibiu International Theatre Festival (SITF is the third performing arts festival in the world, preceded by the ones in Edinburgh and Avignon). Ion M. Tomuș was Head of the Department of Drama and Theatre Studies, in “Lucian Blaga” University of Sibiu (2011-2019), and now he is the Chair of the PhD School in Theatre and Performing Arts at the same university Since October 2016, Ion M. Tomuș is advising PhD students in the field of Performing Arts at “Lucian Blaga” University of Sibiu. Email: ion.tomus@ulbsibiu.ro 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 Report from London (December 2022) Confessions, storytelling and worlds in which the impossible becomes possible. The 77th Avignon Festival, July 5-25, 2023 “Regietheater:” two cases The Grec Festival 2023 The Festival of the Youth Theatre of Piatra Neamt, Romania: A Festival for “Youth without Age” (notes on the occasion of the 34th edition) Report from Germany Poetry on Stage: Games, Words, Crickets..., Directed by Silviu Purcărete Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Leche Hervida is a Solo Performance created in 2023. The work involves meticulous detail around all objects floor to ceiling. The foam floor is first laid below the meticulously constructed lighting rig by the artist. All of the objects in the work are created by IV Castellanos. The wearables are deconstructed during the production of this performance. PRELUDE Festival 2023 PERFORMANCE Leche Hervida IV Castellanos Dance, Performance Art English. Spanish, Quechua 20mins 2:30PM EST Friday, October 13, 2023 Martin E. Segal Theatre Center, 5th Avenue, New York, NY, USA Free Entry, Open To All Leche Hervida is a Solo Performance created in 2023. The work involves meticulous detail around all objects floor to ceiling. The foam floor is first laid below the meticulously constructed lighting rig by the artist. All of the objects in the work are created by IV Castellanos. The wearables are deconstructed during the production of this performance. Content / Trigger Description: The performance goes to complete darkness at one point. Abstract Performance Artist and Sculptor. I create solo, collaborative and group task vignette performances. The objects in my performances are all constructed/deconstructed by myself and/or the collaborator/s I am working with. In addition, I create stand alone sculptures not meant to be activated by performances. I am a Three Spirit Queer Trans* Bolivian-Indige / American. www.ivcastellanos.com Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

EXPOSURE: A group show of performance works exploring the body. PERFORMANCE BY: Ilan Bachrach Kristel Baldoz Blaze Ferrer Hannah Kallenbach Julia Mounsey Alexander Paris Matt Romein Alex Tatarsky Peter Mills Weiss Kristin Worrall At The Collapsable Hole 155 Bank Street New York, NY 10014 Seating extremely limited. Tickets are first come first served. The Collapsable Hole box office opens at 6pm. Please arrive early to secure your ticket and enjoy free refreshments. PRELUDE Festival 2023 PERFORMANCE Exposure Radiohole Theater, Performance Art English 90 minutes 7:00PM EST Saturday, October 7, 2023 The Collapsable Hole, Bank Street, New York, NY, USA Free Entry, Open To All EXPOSURE: A group show of performance works exploring the body. PERFORMANCE BY: Paris Alexander Kristel Baldoz Blaze Ferrer Hannah Kallenbach Dante Migone-Ojeda Julia Mounsey Matt Romein Alex Tatarsky Peter Mills Weiss Kristin Worrall HOSTED BY: Fantasy Grandma VISUAL ART BY: Robert Bunkin & Jenny Tango At The Collapsable Hole 155 Bank Street New York, NY 10014 Tickets are first come first served. The Collapsable Hole box office opens at 6pm. Please arrive early to secure your ticket and enjoy free refreshments. Radiohole is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Radiohole's work is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. Content / Trigger Description: Please email radiohole@gmail.com for information about content and access. https://www.radiohole.com/ https://thehole.site/ Watch Recording Explore more performances, talks and discussions at PRELUDE 2023 See What's on

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

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View the collection of books, plays and other literature on performing arts published and supported by the Martin E. Segal Theater Center at the Graduate Center CUNY. Books At The Martin E. Segal Center CUNY, we are dedicated to supporting the research, dissemination, and discourse of the performing arts through our extensive collection of books, publications, and journals. Our diverse collection covers a wide range of topics in the performing arts, from theater and dance to music and film. We are committed to providing a comprehensive resource for scholars, researchers, and artists alike. New Plays from the Caribbean Stéphanie Bérard, with Frank Hentschker An anthology of six contemporary Francophone Caribbean plays. BAiT: Buenos Aires in Translation Daniel Veronese, Lola Arias, Federico Leon, Rafael Spregelburd, Jean Graham-Jones This book brings US readers cutting-edge work from one of Latin America’s most vibrant theatrical scenes: Czech Plays: Seven New Works Marcy Arlin, Gwynn MacDonald, Daniel Gerould The first English-language anthology of Czech plays written after the 1989 “Velvet Revolution. Four Millennial Plays From Belgium David Willinger This anthology captures the tendencies of contemporary European playwriting at the beginning of the new millennium. Intermeddlers Sarah Stites, Frank Hentschker An examination of the censorship of LiIllian Hellman's The Children's Hour. New Plays from Italy Vol 2: Three Plays Daria Deflorian, Antonio Tagliarini, Maria Galante, Michele Santeramo, Allison Eikerenkoetter, Jane House, Frank Hentschker This collection features an anthology of three contemporary plays from Italy. Pixérécourt: Four Melodramas Daniel Gerould, Marvin Carlson A collection of dramas from French theatre director and playwright René-Charles Guilbert de Pixerécourt. Selected Essays: New Directions Nehad Selaiha, Marvin Carlson Nehad Selaiha chronicles the rise of the Free Theatre Movement in Egypt in the late 1980s. Szertelen Színdarabok New Yorkból (Riff Raff Plays from New York) Attila Szabó, Frank Hentschker Hungarian language anthology of five contemporary American theater plays. The Art of Assembly Florian Malzacher A survey of contemporary theatre to demonstrate its political potential in both form and content. Three Poems Liwaa Yazji A collection of poems from Syrian playwright and filmmaker Liwaa Yazji. Zeami and the Nô Theatre in the World Benito Ortolani, Samuel L. Leiter This volume contains the proceedings of the “Zeami and the Nô Theatre in the World” symposium, held in New York City in October 1997 Theatre Research Resources in New York City Marvin Carlson A comprehensive catalogue of New York City research facilities available to theatre scholars. Barcelona Plays Josep M. Benet i Jornet, Sergi Belbel, Lluisa Cunielle, Pau Miro, Marion Peter Holt, Sharon G. Feldman A Collection of New Works by Catalan Playwrights DANCE New York: Performed Manifestos Frank Hentschker A snapshot of the vibrant New York dance scene, through their manifestos. Four Plays from North Africa Abdelkader Alloula, Jalila Baccar, Fatima Gallaire, Tayeb Saddiki A collection of dramatic texts from the Maghreb region of Northwest Africa. Jan Fabre: I Am A Mistake Jan Fabre Seven works from the Flemish-Dutch theatre artist Jan Fabre. New Plays from Italy Volume 3 Valeria Orani, Frank Hentschker A collection of contemporary Italian plays presented in English. Playwrights Before the Fall Daniel Gerould A unique anthology playwrights from Poland, Slovenia, Hungary, Czechoslovakia, and Romania in the backdrop of rebellion, war and revolution. Selected Essays: Perspectives Nehad Selaiha, Marvin Carlson Nehad Selaiha draws attention to important performers, directors, dramaturges, critics and managers of Egyptian Theatre. Ta’ziyeh - Ten Contemporary Indigenous Plays From Iran M.J. Yousefian Kenari, Marvin Carlson A collection of the Ta'ziyeh passion play of Iran, one of the world's most elaborate, wide-spread and long-lasting traditions of religious drama. The Heirs of Molière Marvin Carlson Four French Comedies of the 17th and 18th Centuries Timbre 4: Two Plays by Claudio Tolcachir Claudio Tolcachir, Jean Graham-Jones Collection of plays from Claudio Tolcachir’s Timbre 4 company based in Buenos Aires, Argentina. roMANIA after 2000 Saviana Stanescu, Daniel Gerould. The first anthology of new Romanian drama published in the United States A Permanent Parliament: Notes on Social Choreography Cory Tamler An experiment in writing about performance from the conviction that our entire beings (thoughtbodies) make theory and politics. Comedy: A Bibliography Meghan Duffy, Daniel Gerould A bibliography of critical studies in english on the theory and practice of comedy in drama, theatre, and performance. Decadent Histories: Four Plays by Amelia Hertz Amelia Hertz, Jadwiga Kosicka An innovative collection of plays based on bizarre and macabre episodes from history and legend. Four Plays from Syria: Sa‘dallah Wannous Marvin Carlson, Safi Mahfouz, Robert Myers, Nada Saab This collection contains four full-length works by Sa‘dallah Wannous, available in English for the first time. Jan Fabre: The Servant of Beauty Jan Fabre This volume of monologues is the second collection of works by Jan Fabre for the theatre in an English translation. New Plays from Italy Volume 4 Valeria Orani, Frank Hentschker A collection of contemporary Italian plays, presented in English. Quick Change Daniel Gerould A volume of previously uncollected writings by Daniel Gerould from Comparative Literature, Modern Drama, PAJ, TDR, SEEP, yale/theater and other journals. Selected Essays: Plays and Playwrights Nehad Selaiha, Marvin Carlson A stimulating eyewitness account of modern Egyptian drama by Nehad Selaiha. Ten Years PRELUDE Frank Hentschker, Yu Chien Liu Capturing 10 years of the contemporary performances and conversations of the Segal Center's PRELUDE festival. The Trilogy of Future Memory Jalila Baccar, Fadhel Jaïbi, Marvin Carlson, Nabil Cherni A collection of recent work by Tunisian playwright and actress Jalila Baccar and director co-author Fadhel Jaibi, capturing the complexity and depth of grand themes prevalent in Arab societies. Two Plays: Fleeting Stages Josep M. Benet i Jornet, Marion Peter Holt A collection of two plays by Catalan playwright Josep M. Benet i Jornet. An Incomprehensible Mother Tongue Valère Novarina, Frank Hentschker This volume contains two new American translations of works by Valère Novarina Contemporary Theatre in Egypt Alfred Farag, Gamal Maqsoud, Lenin El-Ramly, Marvin Carlson Contains the first English translation of short plays by leading Egyptian playwrights. Four Arab Hamlet Plays Nabyl Lahlou, Mamduh Adwan, Nader Omran, Jawad al-Assadi, Mahmoud Aboudoma, Marvin Carlson, Magaret Litvin, Joy Arab Jumping off from Shakespeare’s tragedy, the Arab Hamlet tradition has produced bitter and hilarious political satire, musical comedy, and farce. Four Works for the Theatre Hugo Claus, David Willinger, Luk Truyts, Luc Deneulin. A collection of dramatic texts from the Flemish writer and playwright Hugo Claus. New Plays from Italy Vol 1: The Origin of the World Frank Hentschker, Jane House A story of basic and perverse family dynamics, the play is an all-female human comedy in three acts. New Plays from Spain Ernesto Caballero, Guillem Clua, Cristina Colmena, Mar Gómez Glez, Borja Ortiz de Gondra, Alfredo Sanzol, Emilio Williams This selection of plays offers insight into the evolution of Spanish art and culture in the context of the country’s current situation. Selected Essays: Cultural Encounters 1 and 2 Nehad Selaiha, Marvin Carlson Volume 4 of Nehad Selaiha's analysis of Egyptian Theatre focuses on cultural relationships. Shakespeare Made French: Four Plays by Jean-François Ducis Jean-François Ducis, Marvin Carlson An exciting collection of Jean-François Ducis' radical reworkings of William Shakespeare's most famous tragedies, penned on the eve of the French Revolution. The Arab Oedipus: Four Plays Marvin Carlson, Tawfiq al-Hakim, Ali Ahmad Bakathir, Ali Salim, Walid Ikhlasi A varied collection of Arabic explorations of one of the central dramas of the European canon. Theatre from Medieval Cairo: The Ibn Dāniyāl Trilogy (Egypt) Marvin Carlson, Safi Mahfouz The first-ever English translation of three of Ibn Dāniyāl’s saucy puppet plays. Witkiewicz: Seven Plays Stanisław Ignacy Witkiewicz, Daniel Gerould An English-translation anthology of seven of Witkiewicz’s most important plays.

Special Section Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 28 2 Visit Journal Homepage Reports from the Front Special Section By Published on May 26, 2016 Download Article as PDF iDream: Addressing the Gender Imbalance in STEM through Research-Informed Theatre for Social Change by Eileen Trauth, Karen Keifer-Boyd and Suzanne Trauth Setting the Stage for Science Communication: Improvisation in an Undergraduate Life Science Curriculum by Cindy L. Duckert and Elizabeth A. De Stasio Playing Sick: Training Actors for High Fidelity Simulated Patient Encounters by George Pate and Libby Ricardo References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue Blue-Collar Broadway The New Humor in the Progressive Era Stages of Engagement Introduction: Performance as Alternate Form of Inquiry in the Age of STEM Reports from the Front iDream: Addressing the Gender Imbalance in STEM through Research-Informed Theatre for Social Change Moonwalking with Laurie Anderson: The Implicit Feminism of 'The End of the Moon' Playing Sick: Training Actors for High Fidelity Simulated Patient Encounters This In-Between Life: Disability, Trans-Corporeality, and Radioactive Half-Life in D.W. Gregory’s Radium Girls Setting the Stage for Science Communication: Improvisation in an Undergraduate Life Science Curriculum Scientific Research and Inquiry in American Theatre America, Humor, and the Working Class Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Book Reviews Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 30 2 Visit Journal Homepage Performance and Politics Book Reviews By Published on May 28, 2018 Download Article as PDF Donatella Galella, Editor Black Performance on the Outskirts of the Left By Malik Gaines Reviewed by Kristin Moriah The Contemporary American Monologue: Performance and Politics By Eddie Paterson Reviewed by Kevin T. Browne Immersions in Cultural Difference: Tourism, War, Performance By Natalie Alvarez Reviewed by Eero Laine Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director By Natka Bianchini Reviewed by Richard Jones Stage for Action: U.S. Social Activist Theatre in the 1940s By Chrystyna Dail Reviewed by Erin Rachel Kaplan Stages of Struggle and Celebration: A Production History of Black Theatre in Texas By Sandra M. Mayo and Elvin Holt Reviewed by Sharyn Emery Books Received The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue Stages of Struggle and Celebration: A Production History of Black Theatre in Texas Immersions in Cultural Difference: Tourism, War, Performance Stage for Action: U.S. Social Activist Theatre in the 1940s Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director The Contemporary American Monologue: Performance and Politics Black Performance on the Outskirts of the Left Introduction: Mediations of Authorship in American Postdramatic Mediaturgies Kaldor and Dorsen's "desktop performances" and the (Live) Coauthorship Paradox Ecologies of Media, Ecologies of Mind: Embodying Authorship Through Mediaturgy Dropping the Needle on the Record: Intermedial Contingency and Spalding Gray's Early Talk Performances #HEWILLNOTDIVIDEUS: Weaponizing Performance of Identity from the Digital to the Physical Performance and Politics Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Special Issue Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 28 2 Visit Journal Homepage Scientific Research and Inquiry in American Theatre Special Issue By Published on May 31, 2016 Download Article as PDF Introduction: Performance as Alternate Form of Inquiry in the Age of STEM by Iris Smith Fischer, Guest Editor This In-Between Life: Disability, Trans-Corporeality, and Radioactive Half-Life in D. W. Gregory’s Radium Girls by Bradley Stephenson Moonwalking with Laurie Anderson: The Implicit Feminism of The End of the Moon by Vivian Appler iDream: Addressing the Gender Imbalance in STEM through Research-Informed Theatre for Social Change by Eileen Trauth, Karen Keifer-Boyd and Suzanne Trauth Setting the Stage for Science Communication: Improvisation in an Undergraduate Life Science Curriculum by Cindy L. Duckert and Elizabeth A. De Stasio Playing Sick: Training Actors for High Fidelity Simulated Patient Encounters by George Pate and Libby Ricardo References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue Blue-Collar Broadway The New Humor in the Progressive Era Stages of Engagement Introduction: Performance as Alternate Form of Inquiry in the Age of STEM Reports from the Front iDream: Addressing the Gender Imbalance in STEM through Research-Informed Theatre for Social Change Moonwalking with Laurie Anderson: The Implicit Feminism of 'The End of the Moon' Playing Sick: Training Actors for High Fidelity Simulated Patient Encounters This In-Between Life: Disability, Trans-Corporeality, and Radioactive Half-Life in D.W. Gregory’s Radium Girls Setting the Stage for Science Communication: Improvisation in an Undergraduate Life Science Curriculum Scientific Research and Inquiry in American Theatre America, Humor, and the Working Class Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Drew Barker Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 35 2 Visit Journal Homepage How Collaboration is Dramaturgy Between Playwright and Multimedia Creator Drew Barker By Published on May 17, 2023 Download Article as PDF References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue México (Expropriated): Reappropriation and Rechoreography of Ballet Folklórico Sarah Gancher and Jared Mezzocchi : How Collaboration is Dramaturgy Between Playwright and Multimedia Creator Making Up for Lost Time: New Play Development in Academia Post COVID 19 The Heart/Roots Project and a Pandemic Pivot Effing Robots Online: The Digital Dramaturgy of Translating In-Person Theatre to Online Streaming How Collaboration is Dramaturgy Between Playwright and Multimedia Creator From Safe to Brave—Developing A Model for Interrogating Race, Racism and the Black Lives Matter Movement Using Devised Theater How to Make a Site-Specific Theatrical Homage to a Film Icon Without Drowning in Your Ocean of Consciousness; or, The Saga of Red Lodge, Montana Starting with the Space: An Interview with Patrick Gabridge Meet Me Where I Am: New Play Dispatches from the DC Area Playing Global (re)Entry: Migration, Surveillance, and Digital Artmaking The Front Porch Plays: Socially-Distanced, Covid-Safe, Micro-Theatre Reviving Feminist Archives: An Interview with Leigh Fondakowski (Re)Generation: Creating Situational Urban Theatre During COVID and Beyond Chevruta Partnership and the Playwright/Dramaturg Relationship Emergent Strategy Abolitionist Pedagogy in Pandemic Time Revolutions in Performance and Theatre / History Now Feeling the Future at Christian End-Time Performances Aural/Oral Dramaturgies: Theatre in the Digital Age Borderlands Children’s Theatre: Historical Developments and Emergence of Chicana/o/Mexican-American Youth Theatre Pandemic Performance: Resilience, Liveness, and Protest in Quarantine Times: Edited by Kendra Capece, Patrick Scorese. New York: Routledge, 2023; Pp. 188 The Cambridge Companion to American Theatre Since 1945: Edited by Julia Listengarten and Stephen Di Benedetto. Cambridge: Cambridge University Press, 2021; Pp. 273. Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Book Reviews Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 28 1 Visit Journal Homepage Slavery, Murder, and an American Tragedy Book Reviews By Published on March 22, 2016 Download Article as PDF Susan Kattwinkel, Editor American Tragedian: The Life of Edwin Booth By Daniel J. Watermeier Reviewed by Karl Kippola The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North By Douglas A. Jones, Jr. Reviewed by Beck Holden Murder Most Queer: The Homicidal Homosexual in the American Theater By Jordan Schildcrout Reviewed by Laura Dorwart Performing Anti-slavery: Activist Women on Antebellum Stages By Gay Gibson Cima Reviewed by Heather S. Nathans If you know of a publication appropriate for review, please send the information to current book review editor Susan Kattwinkel at kattwinkels@cofc.edu . A list of books received can be found at www.susankattwinkel.com . References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue American Tragedian Changes, Constants, Constraints: African American Theatre History Scholarship Performing Anti-slavery The Captive Stage Musical Theatre Studies Reflections: Fifty Years of Chicano/Latino Theatre Transgressive Engagements: The Here and Now of Queer Theatre Scholarship Strangers Onstage: Asia, America, Theatre, and Performance Thinking about Temporality and Theatre Murder Most Queer New Directions in Dramatic and Theatrical Theory: The Emerging Discipline of Performance Philosophy The State of the Field “Re-righting” Finland’s Winter War: Robert E. Sherwood’s There Shall Be No Night[s] Star Struck!: The Phenomenological Affect of Celebrity on Broadway Slavery, Murder, and an American Tragedy Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Editorial Board Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 28 1 Visit Journal Homepage The State of the Field Editorial Board By Published on March 22, 2016 Download Article as PDF The Journal of American Drama and Theatre asked seven leading scholars to comment on how they saw the state of our field today. This is what they wrote. New Directions in Dramatic and Theatrical Theory: The Emerging Discipline of Performance Philosophy Michael Y. Bennett Changes, Constants, Constraints: African American Theatre History Scholarship Kevin Byrne Reflections: Fifty Years of Chicano/Latino Theatre Jorge Huerta Strangers Onstage: Asia, America, Theatre, and Performance Esther Kim Lee Transgressive Engagements: The Here and Now of Queer Theatre Scholarship Jordan Schildcrout Thinking about Temporality and Theatre Maurya Wickstrom Musical Theatre Studies Stacy Wolf References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue American Tragedian Changes, Constants, Constraints: African American Theatre History Scholarship Performing Anti-slavery The Captive Stage Musical Theatre Studies Reflections: Fifty Years of Chicano/Latino Theatre Transgressive Engagements: The Here and Now of Queer Theatre Scholarship Strangers Onstage: Asia, America, Theatre, and Performance Thinking about Temporality and Theatre Murder Most Queer New Directions in Dramatic and Theatrical Theory: The Emerging Discipline of Performance Philosophy The State of the Field “Re-righting” Finland’s Winter War: Robert E. Sherwood’s There Shall Be No Night[s] Star Struck!: The Phenomenological Affect of Celebrity on Broadway Slavery, Murder, and an American Tragedy Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Book Reviews Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 34 2 Visit Journal Homepage Transpacific Performance: Interdisciplinary Theater, Embodied Reckonings and Cross-Cultural Dance Book Reviews By Published on May 27, 2022 Download Article as PDF Maya Roth, Editor The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness By Yuko Kurahashi Reviewed by Craig Quintero Embodied Reckonings: “Comfort Women,” Performance and Transpacific Redress By Elizabeth Son Reviewed by Devika Ranjan Love Dances: Loss and Mourning in Intercultural Collaboration By SanSan Kwan Reviewed by grace shinhae jun Books Received The Journal of American Drama and Theatre Volume 34, Number 2 (Spring 2022) ISNN 2376-4236 ©2022 by Martin E. Segal Theatre Center References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue Embodied Reckonings: “Comfort Women,” Performance and Transpacific Redress The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness Love Dances: Loss and Mourning in Intercultural Collaboration Introduction to Asian American Dramaturgies Behind the Scenes of Asian American Theatre and Performance Studies On Young Jean Lee in Young Jean Lee's We're Gonna Die by Christine Mok Representation from Cambodia to America: Musical Dramaturgies in Lauren Yee’s Cambodian Rock Band The Dramaturgical Sensibility of Lauren Yee’s The Great Leap and Cambodian Rock Band Holding up a Lens to the Consortium of Asian American Theaters and Artists: A Photo Essay Theatre in Hawaiʻi: An “Illumination of the Fault Lines” of Asian American Theatre Randall Duk Kim: A Sojourn in the Embodiment of Words Reappropriation, Reparative Creativity, and Feeling Yellow in Generic Ensemble Company’s The Mikado: Reclaimed Dance Planets Dramaturgy of Deprivation (없다): An Invitation to Re-Imagine Ways We Depict Asian American and Adopted Narratives of Trauma Clubhouse: Stories of Empowered Uncanny Anomalies Off-Yellow Time vs Off-White Space: Activist Asian American Dramaturgy in Higher Education Asian American Dramaturgies in the Classroom: A Reflection Transpacific Performance: Interdisciplinary Theater, Embodied Reckonings and Cross-Cultural Dance Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

Book Reviews Back to Top Untitled Article References Authors Keep Reading < Back Journal of American Drama & Theatre Volume Issue 32 2 Visit Journal Homepage Theatre and Ecology Book Reviews By Published on June 12, 2020 Download Article as PDF Maya Roth, Editor The Drama and Theatre of Sarah Ruhl By Amy Muse Reviewed by John Bray A Player and a Gentleman: The Diary of Harry Watkins, Nineteenth-Century US American Actor Edited by Amy E. Hughes and Naomi J. Stubbs Reviewed by Amy B. Huang Theatre, Performance and Cognition: Languages, Bodies and Ecologies Edited by Rhonda Blair and Amy Cook Reviewed by Collin Vorbeck The History and Theory of Environmental Scenography By Arnold Aronson Reviewed by Michael Valdez Books Received The Journal of American Drama and Theatre Volume 32, Number 2 (Spring 2020) ISNN 2376-4236 ©2020 by Martin E. Segal Theatre Center References About The Author(s) Journal of American Drama & Theatre JADT publishes thoughtful and innovative work by leading scholars on theatre, drama, and performance in the Americas – past and present. Provocative articles provide valuable insight and information on the heritage of American theatre, as well as its continuing contribution to world literature and the performing arts. Founded in 1989 and previously edited by Professors Vera Mowry Roberts, Jane Bowers, and David Savran, this widely acclaimed peer reviewed journal is now edited by Dr. Benjamin Gillespie and Dr. Bess Rowen. Journal of American Drama and Theatre is a publication of the Martin E. Segal Theatre Center. Visit Journal Homepage Table of Contents - Current Issue Theatre, Performance and Cognition: Languages, Bodies and Ecologies The Drama and Theatre of Sarah Ruhl A Player and a Gentleman: The Diary of Harry Watkins, Nineteenth-Century US American Actor The History and Theory of Environmental Scenography Introduction: Local Acts: Performing Communities, Performing Americas The Architecture of Local Performance: Stages of the Taliesin Fellowship “La conjura de Xinum” and Language Revitalization: Understanding Maya Agency through Theatre Exploring the History and Implications of Toxicity through St. Louis: Performance Artist Allana Ross and the “Toxic Mound Tours” Finding Home in the World Stage: Critical Creative Citizenship and the 13th South Asian Theatre Festival 2018 Theatre and Ecology Previous Next Attribution: This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.