news
GET THE SCOOP AT FRAMEWORKS
If you are new to
campus, here’s your chance to meet and greet faculty/staff. If you are
returning, it’s time to get reconnected. Get the buzz on the new Season at
Frameworks, September 11 at 4:00pm in the Stoll Thrust.
Department Chair
Marcus Dilliard kicks-off the gathering with greetings and Associate Chair Sonja
Kuftinec guides us in exploring those foundational ideas sparking this
season’s creative work. “Hear about the values that inform each of the
department’s core programs,” explains Professor Kuftinec, “and how these
values work their way through our season.” It’s exciting and adventurous season
that includes Cowles choreographers’ Tony and Olivier Award winner Garth Fagan
(Lion King) and Natalie
Rogers-Cropper, Polish visionary Tadeusz Kantor, contemporary American
playwright Sam Shepard, and the twentieth century’s dynamic duo of Bertolt
Brecht and Kurt Weill. “Each of these
artists has pushed aesthetic boundaries to explore events from the dark
dynamics of intimate relationships, to the cultural politics of memory, to the
seductive lure of thievery,” she concluded. B.A. and B.F.A. directors, graduate designers,
dramaturgs and program heads will share inspirations and thoughts on what it
means for us to connect with these artists today.
To top off the afternoon,celebrity ice cream dippers – likely your favorite instructor -- will be serving
your favorite flavor immediately following the event in the Pit. Don’t miss the
scoop.
THEATRE ARTS & DANCE ANNOUNCES NEW 2015-16 SEASON
UDT: Dance
Revolutions, Threepenny Opera, Earthquakes in London, Henry VI plus free Creative Collaborations, Informal Dance Showings and BFA Studio Series
The University of Minnesota’s Theatre Arts & Dance Department is pleased to announce its 2015-16 performance season. As University classes begin, so does producing at the Rarig Center and Barbara Baker Center for Dance. Auditions, rehearsals, design plans, shop activities and creative work leading to the following public productions of the fall, winter, and spring are underway.
Earthquakes in London by Mike Bartlett is driven by “an all-pervasive fear of the future and a guilty pleasure in the excesses of the present …in an epic roller-coaster of a play from 1968 to 2525 and back again. Earthquakes in London includes burlesque strip shows, bad dreams, social breakdown, population explosion, and worldwide paranoia. It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe. “-- Methuen Publications. “Questions fizz and soar like fireworks….not to be missed.” --Time Out. Directed by Bruce Roach, Earthquakes in London will be presented in the Guthrie’s Dowling Studio April 14-23 and performed by the University of Minnesota/Guthrie Theater Actor Training Program senior class of 2016. Note: University Theatre ticket pricing applies.
Tickets for these main
stage performances are available by visiting theatre.umn.edu or by calling
612-624-2345. Admission prices include ticket fees: $6 for all students; $11 U
of M faculty/staff; $16 general public.
Celebrating of Shakespeare’s rich 400
year legacy, the University of Minnesota/Guthrie Theatre Actor Training
Sophomore Company performs an adaptation of Shakespeare’s trilogy Henry
VI directed by guest artist Doug
Scholz-Carlson (Artistic Director, Great River Shakespeare) and faculty member
Steve Cardamone.
Always cleverly staged with an emphasis on mastery of text, these works will be performed March 31 – April 4, 2016 in the Stoll Thrust Theatre.Note: All Henry VI tickets are priced $6 and may be purchased online at theatre.umn.edu or by phone at 612-624-2345. King Henry VI in its entirety? Buy tickets for both parts when purchased barch 31 to receive a discount. Note: Reduced prices for groups of 15 or more.
Always cleverly staged with an emphasis on mastery of text, these works will be performed March 31 – April 4, 2016 in the Stoll Thrust Theatre.Note: All Henry VI tickets are priced $6 and may be purchased online at theatre.umn.edu or by phone at 612-624-2345. King Henry VI in its entirety? Buy tickets for both parts when purchased barch 31 to receive a discount. Note: Reduced prices for groups of 15 or more.
In addition to the main stage
productions,Theatre Arts & Dance department presents a wide variety of
studio and informal showings that are free
and open to the public. Register
for your general admission seating with University Events Calendar https://events.umn.edu/Online/default.asp
Print out your free ticket and present at the door for admission. Any unclaimed
seats will be available on a “first come, first served” basis ten minutes
before the curtain time.
The University of Minnesota/ Guthrie
Theatre BFA Studio Series 2015-16
opens with Chekhov’s classic The Cherry Orchard directed by Risa
Brainin playing in repertory with Uncle Vanya staged by Michelle
O’Neill. Performed alternately the plays
will offered October 6-11 in Rarig’s
Liu Stage/ Kilburn Theatre. Later in October
27-November 3, the Sophomore Company will play three Sam Shepard works in rotating
repertory with showings of A Lie of the Mind directed by Bruce
Roach, Buried Child directed by David
Colacci, and Heartless directed by Ellen Fenster. In
the spring, the Junior Company presents Euripides’ Hippolytus staged by Dario Tangelson February 25-
28, on the Liu Stage /Kilburn Theatre.
Next, a trio of one act comedies by Christopher Durang takes the
spotlight April 14-18 on the Liu
Stage/Kilburn Theatre. To conclude the
Series, the Freshman Company makes its formal debut with Fresh Scenes playing April 30 - May 2 which will be directed
by Lucinda Holshue and Joe Price.
In addition, B.A. Creative Collaborations present informal showings after a series of
intense rehearsal weeks focused on ensemble theater creation. Production
elements are usually light, creativity and artistic risk are always high. This fall's line-up includes two different works:
ValleySCARE, a
creative collaboration with 19 B.A. students this fall, is led by faculty
member Luverne Seifert and guest theatre artist Jim
Lichtscheidl. In a unique
partnership with Shakopee’s Valley Fair, they hope to frighten the dickens out
of visitors. Each student explores a
darker side, contributing to an original macabre tale of animal
transformation, and then collectively they will bring to life in a full-scale
environment housing these grotesque mash-up experiments. Acting as performers and /or guides, costumed
students will lead groups through a bizarre collection of misshapen creatures.
Together these creative collaborators learning basic skills required of
designers, stage managers, make-up artists and mask- makers, will conjure this
truly creepy creation for ValleySCARE spectators on selected
weekend nights September 18 - October 31.
For more information on this event, contact valleyfair.com or visit valleyscare.com for details.
In the spring B.A. Creative
Collaborations will be
The second showing My Name is Anton Chekhov, is guided by Acting Instructor Shirley Venard and will be presented April 1. This investigation will take two of Chekov’s short stories, have students research Chekov’s life, and engage in a performance of the intersection of the life and the work.This project will look at the conversation between
recorded and life performance.
Guided by theatre artist Rick Shiomi, Ronin will have a staged reading. Watch for details on this project.
The second showing My Name is Anton Chekhov, is guided by Acting Instructor Shirley Venard and will be presented April 1. This investigation will take two of Chekov’s short stories, have students research Chekov’s life, and engage in a performance of the intersection of the life and the work.This project will look at the conversation between
recorded and life performance.
Guided by theatre artist Rick Shiomi, Ronin will have a staged reading. Watch for details on this project.
Informal Dance Showings
mark the end of the residencies of each of this year’s Cowles Visiting Artists.
These informal showings, performed by dance students, take place in the Barker
Dance Center—Studio 100. Note: Seating is limited, based on first come basis and
is free. Each showing is followed by Question/Answer/Discussion with the artists. The Fall 2015
informal showings are scheduled as follows:
Friday, September 25, 4:30 pm. Excerpt from
Garth Fagan’s Two Pieces of One: Green restaged by Garth Fagan and
Natalie Rogers-Cropper, Cowles Visiting Artists.
Friday, October 16, 4:30 pm. Newly Commissioned Work, by Wynn Fricke, Cowles Visiting
Artist.
October 30, 4:30 pm. Proxima by Gerald Casel, Cowles Visiting Artist Friday.
OUR STUDENTS in the Spotlight
CATCHING UP on the PQ
Graduate Students Sarah Bahr and Phillip O’Toole
In June, Sarah Bahr and
Phillip O’Toole attended the 13th Annual Prague Quadrennial (PQ) of Performance
Design and Space in the Czech Republic. This international professional
gathering convening every four years receives support from the United States
Institute of Theatre Technology (USITT); the U of M Theatre Arts and Dance
department is an affiliated member through the organization’s Minnesota
chapter. Recently two MFA graduate
students Sarah Bahr, in Design/ Tech, (emphasis in Costume & Scenic Design) and Phillip O'Toole graduate student in (Sound
Design & Technology) sat down
with Applause to discuss their time in Prague.
Q : How
would you describe the Prague Quadrennial?
Sarah: “The
PQ is a global theatre festival focused on design. This year over 64 countries
and regions participated by sharing their work through exhibitions, installations,
and performances. It was a gathering space where people from literally across
the world could connect with each other and support a common goal of exploring
and using theatre as more than just entertainment. Theatre work was displayed
in rooms that ranged from video of live productions, interactive sculptures, to
performance art. There was a constant stream of daily events including costume
parades called ‘Tribes’ where costumed groups walked through the city streets
and interacted with the environment and people. Another event was called
‘Makers’ where artists were asked to explore a past production through a four
hour long process of making food.”
Tribes: costume performance of 'Bahian' a Brazilian culture figure, Brazil
Phillip: “Professor Torry Bend
introduced me to the Prague Quadrennial of Performance Design and Space. It was
the perfect culmination to her TH5520 Scene Design course that I took in the spring. There were scores of exhibits of
traditional theater models, live theatrical performances, video and audio
installations and other elements of performance design.”
Sections of Countries & Regions: 'Post-Apocalypsis'
sound installation and sculpture, Poland
Q:
How would you describe the time you shared with these artists and architects,
performers and designers?
Sarah:
“My experience was eye-opening; the PQ challenged my theatre making process and
the way I interact with performance as a designer. A common theme of ‘trust your audience’
occurred though the work I viewed and interacted with. Audiences were asked to physically, vocally,
and mentally participate with performances and exhibitions of work. Sitting silently was not a concept.”
Sections of Countries & Regions: 'The Submission'
an interactive performance based on the set design for 'Miss Julie', Latvia
Phillip: “I had many aha-moments when
experiencing the Quadrennial connecting what was taught in Torry’s class to
live art. I took this picture of some actors on break from a piece called
Blue Tired Heroes created by Swiss artist Massimo Furlan. I really liked
watching the actors on break as much as the performance.”
Actors take a break from performing Blue Tired Heroes
created by Swiss artist Massimo Furlan.
Q: Looking back on the Prague experience, how will it affect you?
Sarah:
“I look forward to this coming year where I’ll have the opportunity to apply my
broadened perspective and deepened understanding of what it means to be a
theatre artist and designer in my class work and design projects. I would like
to thank the Department of Theatre Arts and Dance, College of Graduate Studies,
and the Dubceck Fund for their financial support in making this extraordinary
experience possible.”
Phillip: “I was fortunate enough to
benefit from Research Travel Funding and … the funding made it possible for me
to experience the PQ. I saw a lot of examples of performance design there that
I think will inform my future projects. It was great to be in a forum of
world-class performers and designers who were really experimenting with the latest
technologies, artistic tools and methods. It's an experience I won't forget,
and I'm grateful for the funds and support that made it happen.”
ALUMNI IN ACTION
NaThan Barlow plays in CTC premiere
Nathan Barlow (left) as Big Brother
with the cast of Akeelah and the Bee
Nathan Barlow BFA alum plays Reggie, big brother to Akeelah in the upcoming premiere of Akeelah and the Bee opening September 1 at Children's Theatre Company . At the conclusion of its Minneapolis run, the show moves to the Arena Theatre in Washington DC.
Justin Reiter (BFA '13) is featured in the national publication Dance Magazine (September issue) as a performer "On the Rise." Described as " a monster onstage with his exaggerated moves and outrageous riffs, the Whim W'Him dancer is barely manageable, hardly classifiable, but oh so stunning. His powerfully emotive torso conveys an urgency in the arc of each story he tells. Artistic director Olivier Weavers calls him "a beautiful creature'"
Justin Reiter (BFA '13) is featured in the national publication Dance Magazine (September issue) as a performer "On the Rise." Described as " a monster onstage with his exaggerated moves and outrageous riffs, the Whim W'Him dancer is barely manageable, hardly classifiable, but oh so stunning. His powerfully emotive torso conveys an urgency in the arc of each story he tells. Artistic director Olivier Weavers calls him "a beautiful creature'"
Sarah Brandner (MFA'14 ) is designing Park Square's Murder for Two, opening Sept 18 and playing through November 1 . The show is directed by Randy Reyes, one of performing teaching/ artists in the BFA / Guthrie faculty.
Ashley Rose Montondo (BFA ’11) Dustin Bronson (BFA ’10) and Shae Palic (BFA’16)
appear in the Guthrie production of To Kill A Mockingbird. Ms. Montondo is
playing the character Mayella Ewell, and Mr. Bronson is playing Mr. Walter Cunningham. Shae Palic (BFA’16) is an understudy in the show.
U of M's Got Talent: Meet ALUM DErek HUgHEs (BA'95)
Alums have sprouted up on stages on Broadway, in
Hollywood productions, and even on your favorite TV show—and we bet you didn’t
even realize it. Derek Hughes (B.A. 1995) has sparked astonishment on the hit
TV show America’s Got Talent with his
impressive, bold magic acts. May 26th, 2015 marked the premiere of Season 10 of
the show bringing a scope of new contestants with fresh ideas.
Derek showed up on America’s Got Talent during the
second week of the show where he performed a thrilling card trick that excited
the judges enough to send him to the next round of Judge Cuts. For his second
act, Derek performed the magic act of telepathy, which was nothing short of
mind-blowing. With exhilarated cheers from the crowd and amazed expressions of
the judges, Derek was sent to the Quarterfinals round.
“So far, the experience on America’s Got Talent has been exhilarating, unexpected, surprising,
and a bit of a rollercoaster,” Derek Hughes said. “I auditioned for America’s Got Talent because I wanted to
see what new material I could bring to show, brand my voice as a performer, and
reach a wide audience.”
As nerve-wracking as it might seem to perform in
front of a large audience on national television, Derek appears to maintain his
focus and seems like a natural in front of the camera. Perhaps that’s because
it’s most definitely not Derek’s first time in front of a camera. Derek has
made appearance on shows such as the VH1 reality series Celebracadabra and Comedy Central’s Gong Show. In addition, Derek has also had roles as an actor in
works such as Grown Ups, As If, Angel and Kikki, as well
as CSI: NY. Derek has also had plenty
of practice of being on stage from his time in the Rarig Center in productions
such as Two Gentleman of Verona.
“The University of Minnesota instilled in me the
discipline to rehearse, which gives me the confidence to perform. The rehearsal
process is very important to me.” Derek Hughes said. “An idea is an idea, but
doesn’t come reality until you put that idea into action which is what happens
when you rehearse.”
As a department, we are always amazed at the
brilliant achievements of our alums. We hope that stories such as these inspire
our current students to take risks and truly reach for the stars with their
respective careers. Congratulations to Derek Hughes and best of luck as he
advances on to the next round of the competition. Look at the video below for a
clip of one of Derek’s incredible performance that advanced him on to the
quarter-finals. Who knows, perhaps we might have more alumni on the stage of
America’s Got Talent in the future.
“My advice to current theatre students to reach
their goals is to create. The most important thing an artist can do is create
their own work. Being proactive has a ripple effect that will get you noticed
and help you get to where you want to be in your career. It’s a lesson I’ve
learned throughout my own career.”
Still interested to learn more about Derek?
Visit
his website at www.standupmagician.com…he might be performing at a location
near you!
FACULTY HIGHLIGHTS
ARTSBRIDGE PROGRAM COMES TO THE U OF M: THANKS, JOE PRICE
Experts helping prepare high school talent for competitive college auditions
The ArtsBridge program aims to prepare and enrich
high school students on track to study theatre at the collegiate level through
specialized, two-week long intensives. Both the Musical Theater and Dramatic
Acting intensives were hosted at the University of Minnesota Theatre Arts and
Dance Department this year. Through conservatory style training, students were
able to engage with different techniques of acting and develop the skills
necessary for a career in theatre and admission into a university’s theatre
program.
Students traveled from numerous different states across
the nation to attend this competitive program. However, not only students
hailed from near and far to contribute to the program. The faculty that educates
these students on the ins and outs of theatre come from other top theatre
programs at universities across the country. The program is comprised of an
elite faculty renowned for their accomplishments in both theatre and academia.
Included among this impressive group is our Theatre Arts and Dance program’s
very own Joe Price, who serves as the BFA Program Director for the University
of Minnesota and as the Artistic Director for the ArtsBridge program.
“For the ArtsBridge program, I audition students by
reviewing audition views, I help plan the schedule for classes, and I work
closely with the faculty,” Price said. “We want our students to have a deep
experience with process while completing the program.”
The students’ days were filled with early morning
breakfasts, long workshops, specialized training, and audition prep in the
Rarig Center. With all of this extensive training, students are surely more
prepared to tackle those seemingly daunting college auditions in the near
future. After learning more about the University of Minnesota’s BFA and BA
programs and all that the city of Minneapolis has to offer, some students
expressed serious interest in pursuing the University of Minnesota for college
upon graduation.
Isabella Lampton,
a student from New York, said “I’ve learned a lot about acting,
technique, and how to live in the moment from this program. I really wanted to
improve the stuff I’ve worked on previous to the program and I also wanted to
get new materials to work on.”
Claire Hill, a student from Arkansas saw great value
in not only in the ArtsBridge summer intensives, but in the University of
Minnesota’s Theatre Arts and Dance Program as well.
“I’ve been really impressed with the program and
have learned a lot, so I hope to set up an audition time with the University of
Minnesota.” Claire said. Perhaps we will be seeing familiar faces in the Rarig
Center next year as they begin their college careers and pursue their goals of
theatre.
ANANYA CHATTERJEA CREATES ROKTIM: NURTUE INCARNADINE
Playing September 18-19 at O’Shaugnessy
Prepare to be inspired by faculty member Dr.
Ananya Chatterjea’s lastest work through Ananya Dance Theatre, Roktim: Nurture Incarnadine which will debut at The O’Shaugnessy at St. Catherine University on September 18th-19th. This latest work is
actually the second piece of a quintet created by Dr. Chatterjea entitled,
“What Women Do.” Dr. Chatterjea is known for her works that use the art of the
dance to understand and express important social issues. Roktim: Nurture Incarnadine creates a narrative focusing on female
labor in the agricultural sector of global societies and how it influences the
food system. With a specialized focus on women of color, Dr. Chatterjea has
choreographed a production that not only seeks to educate people on the
practices of female migrant labor, but more importantly, seeks to honor the
women who invested their love, labor, and lives into the cultivation of the
land for the utilitarian sake of sustaining a community of people.
How does one even prepare to communicate this
monumental social issue through the art of dance? One of the most important
steps of this process happened in late May and mid-July when the dancers who
will be performing in Roktim: Nurture
Incarnadine took field trips to different farming locations in Minnesota to
conduct research for the dance. The dancers visited Frogtown Farms, Dream of
Wild Health, and MN Food Association/Big River Farms in order to connect with the land, the farmers, and build
relationships that would ultimately influence the production.
“At one of the farms we got to participate in a
little bit of actual fieldwork with them, so some of us planted seeds alongside
the farmers, and some of us pulled weeds and tilled soil.” second year dancer
of Ananya Dance Theatre Kealoha Ferreira said. “There are parts of the show
that have a literal translation of acts such as planting seeds, but the stories
shared by the farmers are what really helped us connect the research to the
choreography.”
Dr. Ananya Chatterjea is a professor in
the Department of Theatre Arts & Dance. Additionally, she is also the Artistic Director of
Ananya Dance Theatre a dance company of women
artists of color who believe in the powerful intersection of artistic
excellence and social justice.
“I tell stories through dance and try to share
these issues with audiences through personal stories—which are partly
remembered, partly researched, and partly imagined,” Dr. Chatterjea said. The
dance not only seeks to influence audiences, but the artists cast in the piece
as well. Dr. Chatterjea aspires for her
dancers to “gain a broader enjoyment of women's stories of work and resistance,
and the way in which we are all implicated in issues of seed and food justice
and a sustainable eco-system.”
Note: Roktim will be traveling to Ethiopia and will be performed as the keynote performance at the International Crossing Boundaries Festival this September.
LUCINDA HOLSHUE: ON VOICE & DICTION in Mockingbird
Audiences often
speak of seeing a play, but may be unaware
how much they depend on the skill of the vocal coach fine tuning dialects with
actors in hearing a play.
Theater professional Lucinda Holshue, who
also teaches voice and dialect is a
faculty member in Theatre Arts and Dance. She graciously agreed to speak about her
research, vocal work with the cast, and her joy in bringing to life To
Kill a Mockingbird
on the Guthrie ‘s
stage.
Q: As a dialect/vocal
coach, what is the process of working with a cast and director? What did this process
look like for this production specifically?
A: The challenges of To Kill a Mockingbird are, first of all,
the two sets of children, and the children are really one of the main focuses
in the play. So that’s been really interesting to work with them. They’ve been rehearsed separately, so they’re
really being able to create their own performances.
In terms of research for
the dialect, some of the dialect is written. I re-read the novel first of all,
so I could understand the world of the play, and there are kind of different
dialects within that world, according to the economic status, really, and the
social status. And then within that, there’s great variation according to the
characters. For example, there’s Miss Maudie, Atticus, and the Judge, and they
have a dialect that is Alabama, but it’s more educated, and it still has some
of the qualities of an older Southern dialect. And then there’s people like the
Sheriff, who’s written to have not so heightened of a dialect sound. And
there’s the African-American [characters]. [Harper Lee] really wrote [in the
script what character] Tom Robinson sound is like, as well as [the character]
Calpurnia. And then the poor white trash and how that [dialect] sounded
different. They’re actually very different sounds.
I did a lot of research on
how Alabama is the Deep South but it’s different than Mississippi. It has more of
a kick to it in many ways. [I watched] a lot of documentaries; some are with
Harper Lee, and you can hear her sister talk, and some of the citizens of
Monroeville talk. I also have friends who are coaches from the South, so I
always consult with them to see what their thoughts are. I also have some films
that I have the actors watch where the [film] actors are doing really good
dialect work, so they can just hear it, feel the rhythm and the music of it.
Q: What kinds of films?
A: Some are documentaries
and some are feature films […] Forest
Gump has really good Alabama dialect work from Sally Field and Tom Hanks. Honeydripper, by John Sayles, set in
Alabama has really fine work by Charles S. Dutton, Danny Glover, Lisa Gay Hamilton
and Mary Steenburgen.
Q: So what is the next
step?
A: I talk to the director
and then I consult with the actors … Many of them have experience with southern
dialects, so then they tell me where they want to go with their characters. I
had a couple people listen to George Wallace on YouTube because he’s an Alabama
boy and he was trained as a lawyer. ..his speech patterns are very interesting. I also suggested some
interviews with writers from Alabama, like Rick Bragg and Mark Childress. […]
With the kids, I did not
record their lines, because I feel that it would have sent them into
line-reading, so we physicalized it. We worked a lot with the possibilities of
where the drawl could open up, when it extends, when the music is extending.
It’s slower [than using recorded tapes], but I think in the end it’s much more
interesting.
Next we talk about the
placement in the mouth. For Mississippi we always say “butter would melt in my
mouth,” cause it’s kind of in the middle of the tongue, but for Alabama, I
usually say “butter won’t melt in my mouth” because it has more of a harder sound.
For example, some of the characters have harder ‘r’ sounds than the more
educated characters might. You just find where the shifts are, and then within
that, you find where each person’s character is. Like one of the women has a
very smooth, beautiful rhythm and one of them has a sharper rhythm, the gossipy
one, she has a sharper edge to her.It’s just like Minnesota
dialect, or any dialect. Different people articulate it in different ways, but
there has to be this feeling on stage that there’s a common community.
Q: Do you provide one-on-one
sessions or dialect tapes for the performers? How do you decide what to provide
as a tool for individual performers?
A: A lot of these actors
I’ve worked with before, so I know how they work, so that’s really helpful.
Some of them really like recordings to listen to, others really like to work
with feeling out the dialect in their mouth, where it’s placed, some work more
imaginatively. You’ll give them a metaphor for a color of the dialect, or
something like that. You just kind of figure out how each actor likes to work.
I do have sessions with them, and then as they begin to put the play together,
I begin to take notes, not just on the sound changes, but just on how the flow
of the dialect is going. You’re always checking in, but the actor has to feel
ownership of it. Your job is to help with that, however that is, but it’s a
really skillful task.
And then I take them out on
the Guthrie’s thrust stage, which has its own set of challenges, to really open
their voices out into that space. The kids are probably going to be supported
with mics, but the thing that we’re really trying to do is have as little
support as possible for them, so they’re really keeping physically energized
and not laying back. I’ve had a lot of fun sessions with them onstage.
It’s been really joyful to
see these two young women who are playing the character of Scout. One is 12, and
one is almost 12, and they’re very articulate in the room, very gung- ho, very
strong, very empowered and that’s really great. I think Harper Lee wrote Scout
like that so it’s really fun to see that. Each have differences in their work
but they’re really capturing the essence of Scout, so that’s been really good.
Q: How does working
professionally (for theaters like the Guthrie) inform what you do and how you teach
in the classroom? Inversely, how does working with student actors inform how
you work in professional theater environments?
A: Working professionally
informs what I do in the classroom because I’ve been in a lot of rehearsal
halls with a lot of different types of directors, so you can kind of begin to
teach the actors what they need to do to work with different energies, different
types of directors. [I can also teach
students] what the process will be like and how much of the responsibility,
really, is on them. With both voice and dialect, when they’re working in the Twin Cities,
certainly in the beginning, they’re not always going to have a coach so they
really need to know how to go about researching and working on a dialect.
It’s a great balance,
working in the professional and student world because they’re both very
renewing processes. I think the only difference with the students is that
they’re learning the skills, and many of the people I work with already have a
lot of the skills, so you’re just refining them. But with the students you’re
teaching them new skills, so there’s a lot of repetition, and the process of
discovery is really fun to be a part of.
I think dialects are great
because they inform your physical life too. It’s not just about the neck up.
It’s really about: how does that inform how your body moves in space? What kind
of environment is that dialect coming out of? Some people learn a lot by
hearing, some people learn visually, and I think part of what students learn is
ways of noting the text. I think all actors can note the text, but if you do
know IPA (International Phonetic Alphabet) it can be helpful because you can do
it really quickly. The students are the next generation coming up in theater,
so that’s very exciting, to see them acquiring skills, and then to see where they will go
with them. That’s an honor to be a part of that process.
Two former BFA students are in this production, actually. Ashley Rose Montondo plays
Mayella Ewell, and Dustin Bronson is playing Mr. Walter Cunningham. That is
incredibly thrilling to see how they’ve matured (they’ve both been out of
school for quite a while), and it just makes you feel really good to see them
doing work, and they’ve both worked a lot around the Twin Cities.
Q: Lastly, what's your
favorite part of the job, both as a working professional and as a professor?
A: Collaborating, and then
seeing an outcome that you’ve helped to influence-- that it’s been a mix, but that
you’ve helped the actor do that. Also, to see some really interesting, exciting
work. You see that in the classroom all the time, really amazing work. To see people growing in their skills,
and, with the professionals, to see how they’re evolving a role, I always find
that really interesting.
KANTOR @100 with Kobialka and guest artist Ludmila Ryba
UNESCO
declared 2015 the Year of Tadeusz Kantor to mark the 100th
anniversary of his birth, reports the arts website Culture Pl. “An extensive
program will promote knowledge about Kantor around the globe….A wide variety of
events are being held from a cross-sectional retrospective by Kantor in Sao
Paulo, an exhibition by works by Kantor and other contemporary Polish artists
in Japan, through the creation and presentation of new performances inspired by
his work in the United States to cooperation with prestigious academic
institutions around the world…”
One of those experts celebrating and contributing to The
Year of Kantor is Professor Michal Kobialka, Professor of Theatre History and
former chair of the Department of Theatre Arts and Dance. Author of two
definitive books on this twentieth century avant-garde Polish theatre director,
painter and set designer, Kobialka traveled to Poland this early summer to complete
work on a project for the Sao Paulo, Brazil’s international Kantor exhibition. In
conjunction with the exhibition’s opening, he presented a series of lectures
and commentaries August 20-22 in San Paulo.
This month U of M students can join in the celebration as
well by enrolling in a special course taught by Kobialka himself. He will present lectures, discussions and actual
screenings of Kantor’s acting company performing. Each screening will be followed by a commentary provided by theatre
artist Ludmila Ryba, an original member of Kantor’s “CRICOT 2” company from
1979 until 1992, performing and touring the world with Wielopole,
Wielopole, The Machine of Love and Death, I Shall Never
Return, and Today is my Birthday.
This unique topic course (TH1950) meets September 14-18, 2015, 7-10 PM in Rarig’s Kilburn/Liu
Stage. Space is currently
available. No registration restrictions. The following
lectures/screenings are scheduled
9/14: Why Kantor?
9/15: Memory and History—The Dead Class (1975)
9/16: Memory and History—Wielopole, Wielopole (1980)
9/17: The Self and the Others—I Shall Never Return (1988)
9/18: Notes on the
Late Style— Today is My Birthday (1990)
On Saturday,
September 19, Ms. Ryba will conduct a day-long workshop (10AM- 7PM) for course
participants and other students, space permitting, which will explore
and elaborate on some of Kantor’s ideas about objects, actor, and space
presented in his productions. Workshop observers are welcome, space
permitting.
