‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’

2000 ◽  
Vol 16 (1) ◽  
pp. 50-64
Author(s):  
Deborah Saivetz
Keyword(s):  
New Jersey ◽  
Urban Environment ◽  
Performance Studies ◽  
Performing Arts ◽  
Assistant Professor ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
Northwestern University ◽  
Assistant Director ◽  
A Site

In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.

Releasing the ‘Profound Physicality of Performance’

1997 ◽  
Vol 13 (52) ◽  
pp. 329-338
Author(s):  
JoAnne Akalaitis
Keyword(s):  
New Jersey ◽  
Performing Arts ◽  
Art And Politics ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
The Arts ◽  
The Relationship

In the following interview, JoAnne Akalaitis discusses her experiences as an actress and director with the Mabou Mines company; her artistic encounters with Beckett, Brecht, and Genet; her thoughts about the relationship between art and politics; and her belief in the connection between the physical and the emotional in performance. Deborah Saivetz is a director and performer who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey. She assisted JoAnne Akalaitis on her production of John Ford's Jacobean tragedy Tis Pity She's aWhore at the Goodman Theatre in Chicago, and performed in Akalaitis's workshop production of The Mormon Project at the Atlantic Center for the Arts in New Smyrna Beach, Florida. She had several opportunities to talk at length with Akalaitis during the months that they worked together.

Naming the Frame: the Role of the Pre-Interpretive in Theatrical Reception

1997 ◽  
Vol 13 (50) ◽  
pp. 161-170 ◽  
Author(s):  
Ian Watson
Keyword(s):  
New Jersey ◽  
Performing Arts ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
The Everyday ◽  
Suspension Of Disbelief

When is a theatre event not a theatre event? Where, in the shifting relationships between (and even the shifting definitions of) actor and audience in modern and postmodern performance, is a useful line to be drawn – if only for purposes of analysis and discussion? How adequate are such traditional concepts as the ‘suspension of disbelief’, when the distinction between the ‘realities’ of the theatre and of the everyday begin to merge or dissolve? Ian Watson, an advisory editor of NTQ who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey, here explores how the issue is affected by the differing pre-interpretive perspectives of performers and spectators. In this light he describes three recent theatre events – the Broadway production of Death and the Maiden, Harold Pinter's London production of Circe and Bravo, and an instance of Augusto Boal's ‘Invisible Theatre’ – to suggest that it is in these perceptual variations that the clue to understanding theatrical reality may lie.

Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia

2005 ◽  
Vol 21 (1) ◽  
pp. 52-60
Author(s):  
Ian Watson
Keyword(s):  
Performing Arts ◽  
Economic Environment ◽  
Scholarly Journals ◽  
Visual And Performing Arts ◽  
Shared Experiences ◽  
Rutgers University ◽  
Form Part ◽  
Performer Training ◽  
International Circuit ◽  
Odin Teatret

Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

Theatre and the Presidential Debates: the Role of Performance in Voter Choice

2006 ◽  
Vol 22 (4) ◽  
pp. 336-351 ◽  
Author(s):  
Ian Watson
Keyword(s):  
Performing Arts ◽  
Presentation Of Self ◽  
Presidential Debates ◽  
Scholarly Journals ◽  
Visual And Performing Arts ◽  
Richard Nixon ◽  
Rutgers University ◽  
Voter Choice ◽  
Performer Training

The fictionalized account in the recent film The Queen of Tony Blair's coaching of Her Majesty into a more voter-friendly response to the death of Princess Diana, largely through the medium of television, is a pertinent reminder of how the presentation of self on television subtly modifies the presentation of self in everyday life. In this article, Ian Watson considers how the now-ritualized debates between the main contenders in American presidential elections are stage-managed to enhance what their supporters suppose to be their candidate's most sympathetic features – supposedly learning the lessons of the first such debate, between John F. Kennedy and Richard Nixon, which displayed Nixon in such an unappealing light. However, what are ostensibly strengths or weaknesses may be read as quite other by an audience attuned to reading signifiers in film or television drama – or simply empathic towards what others perceive as failings, as in the case of reactions to George W. Bush's inarticulacies, awkward mannerisms, and failed jokes, which some read not as signs of ineptness but of an endearing humanity. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

Theatre after the Dictatorships: Developments in Chile and Argentina

1995 ◽  
Vol 11 (41) ◽  
pp. 40-54 ◽  
Author(s):  
Ian Watson ◽  
Susana Epstein
Keyword(s):  
Eastern Europe ◽  
Latin American ◽  
Systematic Study ◽  
Performing Arts ◽  
The Political ◽  
American Theatre ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
Latin American Theatre

Ian Watson and Susana Epstein went to Chile and Argentina in the summer of 1992 in order to interview several leading theatre artists about the differences the political changes in their countries had made to their own work and the work of their colleagues. Although, as the authors stress, they made no attempt to conduct a systematic study of the theatrical implications of the shift from authoritarianism to democracy, their findings suggest some parallels with the situation in Eastern Europe. Ian Watson, who heads the Theatre Division in the Department of Visual and Performing Arts at Rutgers University, Newark, is a theatre scholar whose main interests include contemporary Latin American theatre. Susana Epstein, an expatriate Argentine, is a Contributing Editor of The Drama Review.

A Performative Memoric Investigation of YoungGiftedandFat

2016 ◽  
Vol 5 (1) ◽  
pp. 51-62
Author(s):  
Sharrell D. Luckett ◽  
Audrey Edwards ◽  
Megan J. Stewart
Keyword(s):  
African American ◽  
Performance Studies ◽  
African American Females ◽  
Stage Manager ◽  
The Arts ◽  
Assistant Director ◽  
Power Negotiations ◽  
Research Collective

In 2013, Sharrell D. Luckett formed the Performance Studies & Arts Research Collective, which encourages members to explore their identities through the arts. Around this time, Audrey Edwards and Megan J. Stewart—both African American females and Collective members—became interested in autoethnography, and Luckett invited them to study closely with her. In this performative essay, Luckett, Edwards, and Stewart implicitly highlight various power negotiations enacted as professor/student, actress/stage manager, actress/assistant director, and mentor/mentee, while all working on their own autoethnographies, and while working collectively on Luckett's autoethnographic performance: YoungGiftedandFat.

Book Reviews

2018 ◽  
Vol 40 (2) ◽  
pp. 89-91
Author(s):  
Jay A. Soled
Keyword(s):  
New Jersey ◽  
Information Systems ◽  
Associate Editor ◽  
Rutgers University

In each issue, JATA publishes reviews of textbooks and other books of interest to tax scholars. All book reviews are solicited by the Associate Editor. However, if you know of a book that you would like reviewed, or if you are interested in reviewing a book, please contact the Associate Editor. The Associate Editor is: Jay A. Soled Department of Accounting and Information Systems Rutgers University 1 Washington Park Newark, New Jersey 07102 Phone: (973) 353-1727 Fax: (973) 375-1283 Email: [email protected]

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