BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.4.3//EN TZID:America/Los_Angeles X-WR-TIMEZONE:America/Los_Angeles BEGIN:VEVENT UID:321@1718.ucla.edu DTSTART;TZID=America/Los_Angeles:20210115T140000 DTEND;TZID=America/Los_Angeles:20210115T173000 DTSTAMP:20210115T190251Z URL:https://1718.ucla.edu/events/resituating-the-comedia-roundtable2/ SUMMARY:Resituating the Comedia Roundtable: For a Theater of The Future\, P art II DESCRIPTION:–organized by Barbara Fuchs (UCLA)\n\nOnline event via Zoom\n \nThis event is free of charge\, but you must register in advance to atten d. All audience members will receive instructions via email after registra tion. Click the following link to register directly with Zoom: https://ucl a.zoom.us/webinar/register/WN_ldTrUpWDQCCkrW7J9fKGwQ\n\nThe Covid-19 pande mic has both exposed and exacerbated crises in the world of theater. There is a widespread sentiment among practitioners and critics alike that the closure of theaters should afford the chance to come back stronger\, rethi nking key questions of form\, audience\, access\, and funding models. Give n the long history of theaters closed due to plague and political unrest\, what lessons might we learn for how best to reflect\, regroup\, and reima gine theater going forward?\n\nAs part of the Center &\; Clark’s year -long core program “Resituating the Comedia\,” we have convened a numb er of key figures in the Los Angeles theater world—directors\, playwrigh ts\, producers\, scholars—for two roundtables on December 4\, 2020 and J anuary 15\, 2021 to examine the affordances of the pandemic closures in li ght of the long history of urban theatermaking and theater’s enduring ro le as a civic commons. Our goal is to produce a set of recommendations for the theater.\n\nThe second roundtable will begin with a presentation of t hree proof-of-concept digital theater pieces that enliven the classics in new formats:\n\nMme Modjeska: fairytales\nAnnie Loui\, University of Calif ornia\, Irvine\, and Artistic Director\, CounterBalance Theater\n\nThe Por trait of Juan Rana by Villaviciosa\, translated by Dr. Peter E. Thompson\n Elena Araoz\, Princeton University\n\nLa firmeza en la ausencia\nAllan Flo res and Fernando Villa\, EFE Tres Teatro\n\nTo enjoy the full experience o ffered by EFE Tres Teatro\, be sure to visit the project page for La firme za en la ausencia here\, and start following this Instagram account now to see daily posts from one of the characters in their adventure.\n\nFollowi ng a dialogue about the theater pieces with the artists who created them\, the second part of the roundtable will expand on our conversation last De cember\, with guiding questions including:\nHow can we formalize and exten d institutions' commitments to be a resource for artists\, and for their c ommunities\, in all their diversity?\nWhat are the spaces for theater goin g forward? How will the pandemic transform the possibilities\, whether in terms of platforms or of collaborations across distance?\nHow impermeable is theater? To what extent can it take advantage of collaborations with ne w possibilities in design/experiential architecture/pluralistic storytelli ng? What might this look like?\nHow can we support artists\, without whom there is no theater? What are some ways to do this sustainably\, to build it into our theater institutions?\nRoundtable Participants\nKristy Edmunds \, UCLA’s Center for the Art of Performance\nOlga Garay-English\, OMGArt splus\nMichael Hackett\, University of California\, Los Angeles\nErith Jaf fe-Berg\, University of California\, Riverside\nJessica Kubzansky\, Boston Court Pasadena\nJulia Reinhard Lupton\, University of California\, Irvine \nCharles McNulty\, Los Angeles Times\nEdgar Miramontes\, REDCAT (Roy and Edna Disney/CalArts Theater)\nJonathan Muñoz-Proulx\, A Noise Within\nJo n Lawrence Rivera\, Playwrights’ Arena\nGabby Shawcross\, Gensler Digita l Experience Design\, Los Angeles\nMadhuri Shekar\, Playwright\nSean Stewa rt\, Author &\; Experience Designer\n\n\n\nProgram\n\n2:00–3:15 p.m. PST\nTheatre Presentations &\; Discussion with the Artists\n\nMme Modje ska: fairytales\nAnnie Loui\, University of California\, Irvine\, and Arti stic Director\, CounterBalance Theater\n\nThe Portrait of Juan Rana by Vil laviciosa\, translated by Dr. Peter E. Thompson\nElena Araoz\, Princeton U niversity\nEl Retrato de Juan Rana program\n\nLa firmeza en la ausencia\nA llan Flores and Fernando Villa\, EFE Tres Teatro\n\n3:15–3:30 p.m. PST\n Break\n\n3:30–5:30 p.m. PST\nPanelists Discussion (based on the question s and following Part I)\n\n\n\nBios\n\nKristy Edmunds\, UCLA’s Center fo r the Art of Performance\nKristy Edmunds (artist\, curator\, keynote speak er) is currently the Executive and Artistic Director of UCLA’s Center fo r the Art of Performance (CAP UCLA)\, a leading presenter of contemporary performance.  In recognition of her contribution to the arts\, Edmunds wa s named a 2016 Chevalier (Knight) de L’Ordre des Arts et des Lettres by the French Government and was the inaugural recipient of the Berresford Pr ize by United States Artists (USA) in 2018. Edmunds’ previously held pos itions at acclaimed institutions in Portland\, Australia and New York. Vis it CAP UCLA’s website for more on her background.\n\nOlga Garay-English\ , OMGArtsplus\nOlga Garay-English is Senior Advisor to Chile's Fundación Teatro a Mil. She was Executive Director of the Ford Theatres (2016-2019). She is Senior Advisor to Staging Change\, a project of NYU’s John Brade mas and the Social Impact of the Arts Project\, University of Pennsylvania \, funded by the Andrew W. Mellon Foundation.\nOlga was Executive Director \, City of LA Department of Cultural Affairs (2007-2014). She was founding Program Director for the Arts for the Doris Duke Charitable Foundation (1 998-2005) awarding $145 million to organizations in the U.S. and abroad. S he is a Chevalier dans l’Ordre des Arts et Lettres.\n\nMichael Hackett\, University of California\, Los Angeles\nMichael Hackett is a theater dire ctor and professor in the UCLA School of Theater\, Film and Television. In March 2020\, he was named the winner of the Witkacy Prize by the Warsaw C entre of the International Theatre Institute.  He has directed five stage d readings of plays translated by the UCLA working group on ‘Comedia in Translation and Performance.’\n\nErith Jaffe-Berg\, University of Califo rnia\, Riverside\nErith Jaffe-Berg is a Professor at the Department of The atre\, Film and Digital Production at UC Riverside. Her research focuses o n the commedia dell’arte and performances by minority groups in Early Mo dern Italy. She has authored two books: Commedia dell’Arte and the Medit erranean: Charting Journeys and Mapping “Others” (2015) and The Multil ingual Art of Commedia dell’Arte (2009)\, among other essays and article s. She is a member of the Son of Semele Theatre Ensemble and Theatre Dybbu k.\n\nJessica Kubzansky\, Boston Court Pasadena\nJessica Kubzansky is a c hampion of innovation and artistic excellence\, and the artistic director Boston Court Pasadena\, a theatre primarily dedicated to adventurous new w ork and reenvisioned classics that engage the cultural conversation. She i s also an award-winning director working locally and nationally on new wor ks\, classics\, and exciting new adaptations of classics. Recently direct ed for Boston Court: the world premieres of Kit Steinkellner’s Ladies\, Sarah B. Mantell’s Everything That Never Happened (written in respons e to Merchant of Venice) Stefanie Zadravec’s Colony Collapse\, RII (h er own three-person reenvisioning of Shakespeare’s Richard II)\, Micha el Elyanow’s The Children (a modern riff on Medea)\, as well as Luis Alfaro’s Mojada\, A Medea in Los Angeles (a co-production at the Getty Villa)\, and the New York and world premieres of Sheila Callaghan’s Ev erything You Touch  (a co-pro with Rattlestick Playwrights Theatre at th e Cherry Lane). Recently elsewhere: The Father with Alfred Molina (Pas adena Playhouse)\, Othello (A Noise Within)\, Jeanne Sakata’s Hold Th ese Truths (Arena Stage\, San Diego Rep)\, Aditi Kapil’s Orange (Sou th Coast Rep)\, Aaron Posner’s Stupid Fucking Bird (ACT Theatre Seattl e). Most recently she directed a piece for Flash Acts\, an international s hort play festival of Russian and American artists produced by Arena Stage in D.C.  Kubzansky has received numerous awards and honors\, among them the Los Angeles’ Drama Critics’ Circle’s Margaret Harford Award for Sustained Excellence in Theatre. Kubzansky teaches at UCLA\, has an MFA i n Theatre Direction from CalArts\, and an BA in Creative Writing from John s Hopkins and Harvard Universities.\n\nJulia Reinhard Lupton\, University of California\, Irvine\nJulia Reinhard Lupton is professor of English and co-director of the New Swan Shakespeare Center at the University of Califo rnia\, Irvine\, where she serves as a dramaturg and runs academic and comm unity programming. She is the author or co-author of five books on Shakesp eare\, including Shakespeare Dwelling: Designs for the Theater of Life and Thinking with Shakespeare: Essays on Politics and Life. Her current resea rch and teaching focuses on Shakespeare and virtue\, broadly conceived. Sh e is a former Guggenheim Fellow and a former Trustee of the Shakespeare As sociation of America.\n\nCharles McNulty\, Los Angeles Times\nCharles McNu lty is the chief theater critic for the Los Angeles Times. He received hi s doctorate in dramaturgy and dramatic criticism from the Yale School of D rama. McNulty has taught at Yale\, the New School\, New York University\, the City University of New York Graduate Center and is currently on the fa culty of the California Institute of the Arts. McNulty\, who started as a literary intern at the New York Public Theater in the days of Joseph Papp\ , is a former Village Voice theater critic and editor and chairman of th e Obie Awards. He was also the chairman of the Pulitzer drama jury in 2010 . He received the George Jean Nathan Award for Dramatic Criticism for the theater year 2009-10\, the top prize for feature writing from the Society for Features Journalism in 2011 and several first place awards from the Lo s Angeles Press Club.\n\nEdgar Miramontes\, REDCAT (Roy and Edna Disney/Ca lArts Theater)\nEdgar Miramontes\, Deputy Executive Director &\; Curato r of the Roy and Edna Disney/CalArts Theater (REDCAT)\, serves on the cur atorial and management team for REDCAT’s international\, national and re gional programming with an emphasis in dance\, theater and performance.   Miramontes was the co-curator and co-producer of the Getty-led Pacific Sta ndard Time Festival: Live Art LA/LA\, an international celebration of art and performance\, with more than 200 Latin American and Latinx artists sup ported by a major grant from the Getty Foundation. He served on the curato rial team for the National Performance Network’s Performing Americas Pro gram and has participated as a panelist for the National Endowment for the Arts\, Mid Atlantic Arts Foundation\, Network of Ensemble Theaters\, L.A. Cultural Affairs Department\, L.A. County Arts Commission\, National Perf ormance Network\, and as a reviewer for MAP Fund and Creative Capital. He is currently on the Board of the National Performance Network and is an ad visory committee member of The Japan Foundation\, New York and New England Foundation for the Arts's National Theater Project.\n\nJonathan Muñoz-P roulx\, A Noise Within\nJonathan Muñoz-Proulx is an Ovation Award-nomina ted director and is Director of Cultural Programming at A Noise Within. He serves on the Latinx Theatre Commons National Advisory Committee\, is a m ember of the LA STAGE Alliance Ovation Rules Committee\, and is a nominato r for The Kilroy List. Muñoz-Proulx has previously served as Artistic Ass istant at East West Players\, Vice Chair of the Alliance of Los Angeles Pl aywrights\, and Associate Producer of Skylight Theatre. He has adjudicate d on grant panels for the California Arts Council and the Los Angeles Coun ty Arts Commission. Muñoz-Proulx was elected to the 2017 Emerging Arts Le aders Los Angeles Leadership Council\, where he served as Programming Comm ittee Co-Chair. He has worked with Center Theatre Group\, LA Phil / Walt D isney Concert Hall\, Los Angeles STAGE Alliance\, Boston Court Theatre\, A ntaeus Theatre Company\, Garry Marshall Theatre\, The Industry\, Company o f Angels\, 24th Street Theatre\, Playwrights’ Arena\, Pacific Resident T heatre\, Chalk Rep\, Ensemble Studio Theatre / LA\, After Hours Production s\, Fever Events\, Élan Ensemble\, and Watts Village Theatre Company. Mu ñoz-Proulx has served as adjunct faculty to the USC MFA in Acting program \, and he is the current Edgerton guest artist in residence at Occidental College.\n\nJon Lawrence Rivera\, Playwrights’ Arena\nis the recipient o f the first Career Achievement Award from Stage Raw. He has presented 15 m odern-day adaptations of Spanish plays through the GOLDEN TONGUES series.   Most recently\, Rivera directed the following world premieres for Playw rights’ Arena: MARCH (a live garage play during the pandemic)\, I GO SOM EWHERE ELSE by Inda Craig-Galván\, SOUTHERNMOST by Mary Lyon Kamitaki\, B ILLY BOY by Nick Salamone\, LITTLE WOMEN by Velina Hasu Houston\, BLOODLET TING by Boni B. Alvarez\, THE ANATOMY OF GAZELLAS by Janine Salinas Schoen berg. Recipient of a NY Fringe Festival Award\, an LA Weekly Award\, and a five-time Ovation Award nominee\, Rivera is the founding artistic directo r of Playwrights’ Arena.\n\nGabby Shawcross\, Gensler Digital Experience Design\, Los Angeles\nGabby Shawcross is Design Director of Gensler’s D igital Experience Design (DXD) Team in Los Angeles. He is interested in ex ploring the integration of digital technologies in physical experience to activate public space and enhance the built environment. His work fuses ci nematic story-telling with spatial design\, discovering new ways of bringi ng people together for unique shared experiences.\n\nBefore joining Gensle r\, Gabby created artworks and installations for respected institutions an d international brands including Bloomberg\, World Wildlife Fund\, and May or Of London. He trained as an architect at the Bartlett School of Archite cture\, UCL and as a production designer at the National Film and Televisi on School in the UK. He has also taught experimental postgraduate architec ture studios at UCL and University of Westminster in the UK\, and most rec ently at UCLA\, here in Los Angeles.  \n\nMadhuri Shekar\, Playwright\nM adhuri Shekar is the 2020 recipient of the Lanford Wilson Award for playwr iting. Her plays include Evil Eye\, In Love and Warcraft\, A Nice Indian B oy\, Queen\, House of Joy and Dhaba on Devon Avenue. Her new film with Blu mhouse\, EVIL EYE\, is now available for streaming on Amazon Prime.\n\nSea n Stewart\, Author &\; Experience Designer\nSean Stewart is one of the world’s most influential interactive storytellers.  He co-created the A lternate Reality Game (ARG) genre\, and served as the lead writer on groun dbreaking collaborations with Steven Spielberg\, Halo\, and Nine Inch Nail s.\n\nStewart is the author of twelve novels\, including Galveston\, winne r of the World Fantasy Award. He has an Emmy Award for interactive televis ion\, and this summer he partnered with NIDA to write and direct Roundabou t\, an interactive farce live-streamed on Twitch.\n\nStewart has consulted on immersive story projects for Disney\, the Royal Shakespeare Company\, Amazon\, Warner Brothers\, and many others.\n\nArtist Presentation Titles &\; Bios\n\nAnnie Loui\, University of California and Artistic Director \, CounterBalance Theater\nOvid: the mythological link between Spain and I taly\nAnnie Loui works as a director/choreographer\, and is the Artistic D irector of Counter-Balance Theater.  She trained with dancer Carolyn Carl son (at the Paris Opera)\, and studied in France with Etienne Decroux\,  Ella Jarosivitcz and Jerzy Grotowski.  Original physical theater pieces h ave been seen in France\, Monaco\, West Germany\, Italy\, and in the Unite d States at Jacob’s Pillow Dance Festival\, among other venues. She was the resident choreographer at the American Repertory Theater (A.R.T.)\, Bo ston and taught extensively for Brandeis and ART Harvard\, before coming t o the University of California\, Irvine where she is Head of Acting for th e MFA Actor Training Program.  Her book The Physical Actor is published b y Routledge Press.  \n\nAllan Flores and Fernando Villa\, Efe Tres Teatr o\nLa firmeza en la ausencia\n\nEfe Tres Teatro is a company formed in 201 2 by a team of scenic artists with the aim of showing in a fun way how the classics\, especially from the Baroque era\, still have a lot to tell us. So far our montages rescue the style of the ñaque and the bululú.\n\nWe are a company committed to the dissemination of classical Spanish theater . We create contemporary montages: agile and playful to dialogue with the public of the 21st century. With minimal scenic elements we appeal to the spectator's imagination\, inviting them to watch from an active role. We w ant to erase the public's prejudices against classical theater by showing that it is current\, fun and universal.\n\nIn 2013 we premiered El Prínci pe Ynocente by Lope de Vega. In 2016 we partnered with the Mexican company Cabaret Misterio to produce Qué Con Quique Quinto?\, a version for the w hole family by Andrés Carreño\, adapted from William Shakespeare’s Hen ry V. In the same year we were part of the production team that achieved g reat success with the first edition of the International Classic Theater F estival Mx. In 2017 we premiered our latest show\, El Merolico\, in which we take up Cervantes's hors d'oeuvres in a boisterous one-man show.\n\nEle na Araoz\, Princeton University and Innovations in Socially Distant Perfor mance\nOur presentation will be about out our short production of The Port rait of Juan Rana by Villaviciosa\, translated by Dr. Peter E. Thompson\ ndirected by Elena Araoz\, director of theatre and opera\, writer\, perfor mer\, and faculty member at Princeton University\n\nElena Araoz directs t heatre and opera internationally\, Off-Broadway\, regionally. Upcoming: An na in the Tropics (Barrington Stage)\, online interactive experience Manic Monologues (McCarter)\, audio drama Nightfall (Audible)\, world premiere Garbologists (City Theatre)\, opera I Am a Dreamer Who No Longer Dreams (R esonance Works). A virtual production of Araoz’s Sugar Skull replaced it s second national tour. Her virtual a farm for meme was dubbed by The New York Times as “form-busting” for its unique combination of “box pupp ets\, shadow play\, live film and archival footage into a gorgeous mise-en -scène that feels theatrical in its purposefully homemade aesthetic.” T he Wall Street Journal raved\, “A remarkable new environment for operati c experimentation\,” about her virtual CGI/motion-capture Alice in the P andemic (White Snake). At Princeton she leads Innovations in Socially Dist ant Performance.\n\n\n\nImage:\nEl retrato de Juan Rana\ndirected by Elena Araoz\ndigital art by James Ruth\nperformer Bradley Frazier ATTACH;FMTTYPE=image/jpeg:https://1718.ucla.edu/wp-content/uploads/2020/09 /rountable-2-.jpg CATEGORIES:Core Program END:VEVENT BEGIN:VTIMEZONE TZID:America/Los_Angeles X-LIC-LOCATION:America/Los_Angeles BEGIN:STANDARD DTSTART:20201101T010000 TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST END:STANDARD END:VTIMEZONE END:VCALENDAR