nosaltforoldwounds

Boston Globe Severs Its Relationships With All But ONE Theatre Critic…

It would appear that Boston globe has buried the lead. On November 28th, Bill Marx, the editor-in-chief of The Arts Fuse broke a story on the death rattle of theatre criticism at the Boston Globe. Apparently due to cutbacks, the Globe has discontinued its relationship with freelance theatre reviewers. The Globe has not released an official […]

The Soul Through a Slit Lamp

The view through a slit lamp is equal parts intimate and clinical, often quite awkward. It’s an ophthalmological tool, used to examine the exterior structure of the eye. The gateway to the soul we are so crazy about. In the theatre world, we talk a lot about the different “hats” we wear, but I’m finding […]

The Dramaturg As Collage Artist

Last week in my blog post about the Dramaturg as Conceptual artist, I talked a little bit about the mass of parallel writing I often do when working on a project. When this material is synthesized for presentation to the production team, it takes on the format of a sort of document collage. These document […]

The Dramaturg As Conceptual Artist

The more I work as a dramaturg, the more I find myself exercising the part of my brain that belongs to a conceptual artist. There is a place for essays, concordances, glossaries, and histories. In fact, so far, I have always started with those things. I have to start with those things to write my […]

“An Exercise In Dialoguing,” Heavily Modified

This week in class we discussed the book The Process of Dramaturgy ( Dubliner, Fletcher, & Irelan, 2010) I’m going to use this educational space as an opportunity to explore  a modified version of the “Exercise on Dialoguing” (found on Page 26 of the book). My modification focuses on These Three Sisters, an adaptation by Jeremy […]

A Personal Experience of the Artistic Sublime

In his writing on sublimity,  the ancient dramatic theorist known as Longinus shifts the notion of the artist ideal from the metaphysical realm to that of the physical. In response to this treatise, new to me,  I found myself hard-pressed to locate in my physical memory a theatrical experience of the sublime. My experience of […]

BOUND Part III: Discovering The Essential Dramaturgy of Dramatherapy in Rehearsal

This post is an installment in a small series. Please read the first & second blog posts contextualize this one. The goal of this series is to provide a behind-the-scenes view of a specific dramaturgical process. One of the challenges faced during the process was that we dealt with difficult material that was often generated by writing […]

BOUND Part II: “Holding The Room” as a Playwright & Dramaturg

This post is an installment in a small series. Please read the first blog post (BOUND Part I: Introduction) to contextualize this one. The goal of this series is to provide a behind-the-scenes view of a specific dramaturgical process The dramaturgical/playwriting process for BOUND began with the important spark which would make the day to […]

BOUND Part I: Introduction

I was living in Portland, Maine, when I got the call. Or so the memory goes. Jasmine Ireland, my mentor, artistic soul mate, friend, had a proposition: move back to my coastal, rural Maine home and create  a play for the 2016 high school one act competition. No questions asked, I packed up my apartment, […]

Murder Doesn’t Count

Note: For Jim Petosa’s class Theatre Criticism & Literary Theory, we were asked to break into groups and discuss the question I outlined below. The question as I understand it was this: How far is too far in theatre? That is— when does a work of art stop being art and become something else? What […]

Maria & Margaret: Part III

    In 2013, the year of my graduation, the year of my grandfather’s death, I wrote a pair of blogposts entitled: Make a Difference in the life of Maria Irene Fornes    &  Maria Irene Part II, A revision & Margaret Zildjian, an Open Letter. Maria Irene Fornes is an explosive, award-winning Cuban-American playwright who […]

“Over There” by Mark Ravenhill: layers of vocabulary

Over There, a play by Mark Ravenhill, is available for streaming or purchase on digitaltheatre.com. The play chronicles the relationship between twins who grew up on opposite sides of the Berlin wall. After the fall, the brothers’ relationship begins to disintegrate as one twin struggles to hold on to the mores of Eastern Communism and […]

An Iliad: The Human Experience of War in Performance

An Iliad, presented this week at the Paramount Center Mainstage at Emerson, is a testament to the epic power of one person to embody a story. The piece was created by Lisa Peterson and Denis O’Hare and is performed by Denis O’Hare and Brian Ellingsen. An Iliad at ArtsEmerson follows on the heels of Euripides’ […]

Clyborne Park at Speakeasy Stage Company: A Review

Clyborne Park by Bruce Norris was presented at Speakeasy Stage Company at the Calderwood Pavilion this spring, enjoying great success and a one-week extension; and, being connected to people in the production, I was in attendance. I settled into the theatre with two of my best friends, all of us twenty-something theatre students, ready to […]

Maria Irene Fornes Part II, A revision & Margaret Zildjian, an open letter.

Editor’s note: see the lead-up to this post, here. (A Strange Blog Post in Two Parts) Part I: In the comments of my last post, Ilana has asked me to get more specific about why I am a bit uncomfortable with the public journal entries Ellen Gavin wrote while visiting Maria Irene Fornes. I’ve spent […]

Make a Difference in the life of Maria Irene Fornes

  In January I received an email from Ilana through the dramaturgy listserv concerning the playwright Maria Irene Fornes that was rather disturbing. Maria Irene Fornes, as I’m sure most of you know, is an absolutely incredible playwright, partially responsible for the off-off Broadway movement in the sixties, a prominent avant-garde playwright and one of […]

The Arslankoy Women’s Theatre: Guts and Intellect

Yesterday in class we talked about the active impact of theatre. Ilana poignantly reminded us that to activate an individual, a work of art must appeal not just to the gut, but to the intellect. This week I came across an unassuming little collective which does just that—its making a big impact, but you may […]

Naked.

There is an article in the January issue of American Theatre Magazine by Ken Kaissar called Baring It All and it’s a discussion of the meaning and use of nudity in theatre. I have to say that what struck me about the article is its examination of female nudity, and the mechanics of nudity as […]

Contemporary Violence

I came across this article (on facebook, of all places) the other day by Charles McNulty,  a Los Angeles Times Theater Critic entitled: Depictions of Violence in Theatre: Revelation, not nihilism. Recalling our recent discussion in class about Crystal Skillman’s play, I was very excited to read the article. I have to say that despite making several […]

I am not a Scienturg: A Dramaturgical Process Paper

I want to be a scientist…. But I am not a scientist at heart. After leaving Ilana’s class to go abroad last year, I thought I had the formula for dramaturgy, and could thus apply this formula to all things dramaturgical. To many of you this may sound ridiculous, but to me it was rather […]