File puptcrit/puptcrit.0602, message 152


Date: Thu, 16 Feb 2006 12:49:20 -0800 (PST)
To: puptcrit-AT-lists.driftline.org
Subject: [Puptcrit] NYC Otome Bunraku event tomorrow...



> Subject: THOUSAND YEARS WAITING - Otome Bunraku - Tomorrow
> FRIDAY,  
> FEB 17, 6:30 P.M. AT THE SEGAL THEATRE
> 
> Starting Time: 6:30 p.m.
> 
> Please forward to your mailing list, artists, friends and
> scholars.  
> Let us know if you receive doubles or if you want to be
> removed from  
> the list.
> 
> Thank you. Frank Hentschker
> 
> =EF=BF=BCThe Graduate Center, CUNY
> 
> 
> An Evening With The Artists From A Ground-Breaking
> Trans-Pacific  
> Production at  Ps122
> 
> 
> 
> THOUSAND YEARS WAITING
> 
> 
> 
> Martin E. Segal Theatre Center, The Graduate Center, CUNY, 365
> Fifth  
> Ave., at 34th Street, FREE
> 
> 
> 
> Japanese-American Playwright CHIORI MIYAGAWA; Japanese
> Director  
> SONOKO KAWAHARA; Otome Bunraku Puppeteer from Japan MASAYA  
> KIRITAKE;Dramaturg NANAKO NAKAJIMA
> 
> Moderator: Professor Claudia Orenstein, Hunter College, CUNY
> 
> 
> Excerpt erformed by
> 
> MARGI DOUGLAS, SOPHIA SKILES, ANNA WILSON
> 
> FEATURING MASAYA KIRITAKE=E2=80=99S OTOME BUNRAKU
> 
> 
> 
> Music by BRUCE ODLAND
> 
> 
> 
> Sound Performance by CHRIS MEADE
> 
> 
> The collaborative process of Thousand Years Waiting  
> =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6..CLAUDIA ORENSTEIN
> 
> 
> About Thousand Years  
>
Waiting=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6..=E2=80=A6
> 
> CHIORI MIYAGAWA
> 
> 
> The Art of Otome Bunraku =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6.. 
> =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6NANAKO NAKAJIMA
> 
> 
> History of Bunraku Theater =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6.. 
> =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6NANAKO NAKAJIMA
> 
> 
> i.   Video of traditional Bunraku performance Meido no Hikyaku
> (The  
> Lover's Exile)
> ii.  Slides on the early history of Otome Bunraku
> 
> iii. Video of Masaya Kiritake's classical work Shizuka
> 
> 
> The directorial vision and the puppetry
> concept=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6. 
> =E2=80=A6=E2=80=A6=E2=80=A6.=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6SONOKO KAWAHARA
> 
> 
> About Otome Bunraku=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6.=E2=80=A6=E2=80=A6=E2=80=A6MASAYA
> KIRITAKE,  
> translated by AYA OGAWA
> 
> 
> An  
>
excerpt=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6
> 
> =E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6 from Thousand Years Waiting
> 
> Moderated Discussion  
>
=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6=E2=80=A6...CLAUDI
> 
> A ORENSTEIN
> 
> With CHIORI MIYAGAWA, SONOKO KAWAHARA, MASAYA KIRITAKE
> 
> 
> Q & A with the Audience
> 
> 
> This evening includes readings from Chiori Miyagawa's new play
>  
> Thousand Years Waiting and a demonstration of the rare
> traditional  
> Japanese Otome Bunraku. Thousand Years Waiting includes three 
> 
> simultaneous realities: present-day New York City, Japan circa
> 1000,  
> and inside The Tale of Genji=E2=80=94the world's first novel. This
> unique  
> collaboration of women artists=E2=80=94a Japanese-American
> playwright, an  
> expatriate Japanese director, and a traditional artist from
> Japan=E2=80=94 
> brings together three different perspectives on Japanese and
> American  
> theatre.
> 
> 
> In Otome Bunraku, an early twentieth-century offshoot of the  
> seventeenth-century Bunraku, a lone female manipulates a
> four-foot  
> puppet, instead of using the sanctioned three-man method of  
> operation. The result is a more sensual and intimate movement
> of the  
> puppets.  Today, it is a near extinct art form: only three
> women in  
> the world perform Otome Bunraku.
> 
> 
> This presentation of excerpts from the play at Martin E. Segal
>  
> Theatre Center marks the first appearance of an Otome Bunraku
> artist  
> in an American play.  The full production of Thousand Years
> Waiting,  
> produced by Crossing Jamaica Avenue, can be seen at P.S.122,
> February  
> 23=E2=80=94March 12.  Visit www.ps122.org and
> www.crossingjamaicaavenue.org  
> for more information.
> 
> 
> Co-sponsored by The Segal Theatre Center, PS 122, The Graduate
>  
> Center, CUNY and with the help of the Japan Society
> 
> 
> MARTIN E. SEGAL THEATRE, THE GRADUATE CENTER, CUNY, 365 FIFTH
> AVE,  
> BETWEEN  34 & 35 St.
> 
> 
> CHIORI MIYAGAWA (Playwright) Her plays have been produced Off-
> 
> Broadway, Off-Off-Broadway and regional theaters. Six of her
> plays  
> have been published in different anthologies. She has received
>  
> numerous support including New York Foundation for the Arts  
> Playwriting Fellowship, McKnight Playwriting Fellowship, and
> Van Lier  
> Playwriting Fellowship. She is Associate Professor of Theater
> at Bard  
> College and Co-Artistic Director of Crossing Jamaica Avenue.
> 
> SONOKO KAWAHARA (Director /Choreographer/Puppetry Conception) 
> 
> develops theatre pieces that integrate text, music, dance and
> visual  
> art.  She has directed at many venues such as New York Theatre
>  
> Workshop, La MaMa, P.S. 122, Theatre for the New City, Soho
> Rep,  
> Kennedy Center, Women's Project, Dance Theater Workshop, HERE,
> the  
> Connolly Theater, Fordham University and  Japan Society. She
> is Co- 
> Artistic Director of Crossing Jamaica Avenue.
> 
> MASAYA KIRITAKE (Otome Bunraku) has collaborated with many
> artists of  
> various genres, employing her classic training background. She
> has  
> performed internationally, in such courtiers as Hungary,
> Germany,  
> Switzerland and Italy. In 2000, her performance received the
> National  
> Arts Festival Award. She also received the Asian Cultural
> Council  
> Fellowship in 2004 and worked in Indonesia and the United
> States for  
> cultural exchange.
> 
> NANAKO NAKAJIMA (Dramaturg) obtained her master's degrees in  
> aesthetics and theater studies from Seijo University, Japan,
> and in  
> Performance Studies from New York University. Her publications
> on  
> odori (traditional Japanese dance) have appeared in both
> English and  
> Japanese journals. Having started her dance training at age
> three,  
> she is also a certified dancer and teacher of traditional
> Japanese  
> dance in the Souke Fujima School.
> 
> CLAUDIA ORENSTEIN is Associate Professor of Theatre at Hunter 
> 
> College. She is the author of Festive Revolutions: The
> Politics of  
> Popular Theatre and the San Francisco Mime Troupe, and
> co-author with  
> Mira Felner of World of Theatre: Tradition and Innovation as
> well as  
> many articles, and she serves as Associate Editor of Asian
> Theatre  
> Journal.
> 
> 
> Dr. Frank Hentschker
> 
> Director of Programs
> 
> 
> =EF=BF=BC
> Martin E. Segal Theatre Center
> 
> The Graduate School and University Center
> 
> The City University of New York
> 
> 365 Fifth Ave, New York, NY 10016-4309
> 
> w   212 - 817-18 63
> 
> fax 212 - 817-15 62
> 
> FHentschker-AT-gc.cuny.edu
> 
> http://web.gc.cuny.edu/mestc/
> 
> 
> 
> 
> 
> 
> 
> 
> 

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