The House of the Spirits: A Conversation with Isabel Allende & Caridad Svich

Author Isabel Allende will be in conversation with Caridad Svich, theater-maker and playwright, about The House of the Spirits in its may iterations: novel, play, and the upcoming staged performance by the Department of Theater, Dance, and Performance Studies, directed by Michael Moran at UC Berkeley’s Zellerbach Playhouse. Michael Moran will moderate.


 

Celebrated Chilean author Isabel Allende won worldwide acclaim with her first novel, The House of the Spirits, published in 1982. In addition to launching Allende’s career as a renowned author, the book, which grew out of a farewell letter to her dying grandfather, also established her as a feminist force in Latin America’s male-dominated literary world. She has since written twenty-two more works; her latest is The Japanese Lover. She is also the author of a trilogy for young readers and books of nonfiction including Aphrodite, a humorous collection of recipes and essays, and three memoirs.

Caridad Svich received the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on Isabel Allende’s novel. Among her many other awards and accolades are the 2012 Obie Award for Lifetime Achievement, a 2018 Tanne Foundation Award, and a 2018 Ellen Stewart Career Achievement in Professional and Academic Theatre Award.

Michael Socrates Moran is Founder & Executive Director of Ubuntu Theater Project, based in Oakland, where he has directed over 20 productions. Favorite directing credits include: West Coast Premiere of TO THE BONE by Lisa Ramirez, West Coast Premiere of Dance of the Holy Ghosts by Marcus Gardley, World Premiere of Rashomon by Philip Kan Gotanda, World Premiere of Pool of Unknown Wonders by Philip Kan Gotanda, Grapes of Wrath, Death of a Salesman, Othello and Hamlet . He has a BFA with a focus in acting from Boston University, an MFA in directing from the University of California, San Diego and is the recipient of the San Francisco Bay Area Theater Critics Circle Award for Best Director in the East Bay.

Sponsored by Berkeley Arts + Design

Lecture by David Goldblatt | Russia 2018: The Global Potemkin Village?

 
“In 2006 I published The Ball Is Round: A Global History of Football, which I thought, naively and arrogantly, would be the last word on the globalisation of football and its social meanings. As the old man said, “All that is solid melts into air,” and once again the dynamics of global capitalism have shattered and remade the world, and football is no exception. Indeed, given its ascendent cultural status, it is a more illuminating window on global economics, politics and culture than ever before. In 2019, for my sins, I will be publishing Football is First: the Global Game in the Twenty-First Century, a survey of the the game’s recent transformations and ever closer intersection with economic and political power, social identities and social movements. This lecture will be the first outing for my tentative conclusions, based in part on an examination of the 2018 World Cup, asking, above all, whether football sustains or undermines the dominant order, and whether it illuminates, fragments or diminishes our lifeworld.”  — David Goldblatt
 

 
David Goldblatt is a sports writer, broadcaster, sociologist, journalist and author. Among his books are The Games: A Global History of the OlympicsThe Game of Our Lives: The Meaning and Making of English FootballFutebol Nation: A Footballing History of Brazil, and The Ball Is Round: A Global History of Football. Goldblatt taught sociology of sport at Bristol University and Pitzer College.
 
Prof. Martha Saavedra from the Center of African Studies at UC Berkeley will lead a discussion following the lecture.
 
Co-sponsored by the Department of Theater, Dance, and Performance Studies, the Center for British Studies, and the Department of History. 

TDPS Speaker Series | Pina Bausch’s Aggressive Tenderness

Please Note: The time of this talk has been changed to 5–6pm, March 7.

Speaker: Telory D. Arendell, Associate Professor of Theatre and Dance, Missouri State University

In this talk, Telory Arendell argues that Pina Bausch takes what other practitioners have written as praxis (theory/practice) and reverses it: she makes the theory practical. Bausch disables gender and explores the breaking point between tenderness and violence in human interactions. Arendell believes that experimental theater should include at least a nod to Bausch’s oeuvre as a postmodernization of German Expressionism. Bausch is one of few practitioners who actually managed to bring theory and practice closer together on the stage.

Arendell’s talk provides a much shortened version of her current book, Pina Bausch’s Aggressive Tenderness: Repurposing Theater through Dance. This book provides close readings of six Pina Bausch pieces, connecting their content with theoretical conversations about Eisenstein’s “Montage Film Editing” and “Emotional Sound,” Grotowski’s “Poor Theatre,” Artaud’s “Theatre of Cruelty,” Brook’s “Empty Space,” Brecht’s “Alienation Effect,” Bogart’s “Viewpoints,” and Monk’s “Extended Techniques.” Arendell reads all of these methodologies into Bausch’s work. She begins and ends her monograph and her talk with an original novella about Bausch in her early pursuits and offers poems for Pina at the beginning of each chapter and chapter synopsis. Arendell ends with a discussion of Wim Wenders’ 2011 tribute film, Pina: Dance, dance otherwise we are lost, and touches on Bausch’s first steps with Kurt Jooss.

Bausch’s Dance Theater, or Tanztheater, speaks a kinesthetic language that Arendell translates into a somaesthetic exploration. Other authors have mentioned Bausch in relation to this list of practitioners, but only in passing. Arendell’s talk provides a detailed explanation of why it is easy to see the conceptual choices of Brecht, Grotowski, Artaud, Brook, Eisenstein, Monk, and Bogart played out physically in Bausch’s choreography as instances of a repurposing of theater through dance.

Performance Studies Graduate Speaker Series | Affective Publics: News Storytelling, Sentiment and Technology

Zizi Papacharissi is Professor and Head of the Communication Department, Professor of Political Science at the University of Illinois-Chicago, and University Scholar at the University of Illinois System. Her work focuses on the social and political consequences of online media. She has published nine books, over 70 journal articles and book chapters, and serves on the editorial board of fifteen journals. Zizi is the founding and current Editor of the open access journal Social Media & Society. She has collaborated with Apple, Facebook, Microsoft, and Oculus and has participated in closed consultations with the Obama 2012 election campaign. She sits on the Committee on the Health and Well-Being of Young Adults, funded by the National Academies of Science, the National Research Council, and the Institute of Medicine in the US, and has been invited to lecture about her work on social media in several Universities and Research Institutes in Europe, Asia, Africa, and the Americas. Her work has been translated in Greek, German, Korean, Chinese, Hungarian, Italian, Turkish, and Persian. She is presently working on her 10th book, titled After Democracy, with Yale University Press.

Zizi was born and raised in Thessaloniki, Greece, and graduated from Anatolia College in 1991. She received a full scholarship to Mount Holyoke College, where she completed a double BA in Economics and Media Studies (1995), and to Kent State University, where she received a Masters degree in Communication Studies (1997). Her studies were fully funded by fellowships and scholarships from both the Onassis Foundation and the University of Texas of Austin, where she received her PhD (2000) in New Media Technologies and Political Communication. She was recognized by her alma mater, UT-Austin, as a high-impact scholar, an honor bestowed to a handful of the School’s  most productive and impactful doctoral graduates and is the 2018 recipient of the Wayne Danielson Award for the sum and impact of her contributions to the field.

TDPS Speaker Series | Toward a Left Aesthetics for our Populist Times

This talk attempts meet the challenge of our populist moment: to refresh and redefine the meaning of “the people” in order to animate a new collective political subject. Theatre and other forms of performing arts will play an important role: their embodied address, embracing varieties of expression from rational to affective, from language to movement, from sound and spectacle to quiet reflection—these can be harnessed to a powerful political motivation forming an aesthetics of resistance and change if we can achieve clarity about suitable aesthetics for invoking a meaningful “We.”

Janelle Reinelt is Emeritus Professor of Theatre and Performance, University of Warwick, UK as well as University of California, Irvine. She has published widely on politics and performance, receiving the ‘Distinguished Scholar Award’ for lifetime achievement from the American Society for Theatre Research (2010), and an honorary doctorate from the University of Helsinki in 2014. She was President of the International Federation for Theatre Research (2004-2007), and was awarded the Excellence in Editing prize (with Brian Singleton) for their Palgrave book series, ‘Studies in International Performance’ in 2012. Her recent books include The Grammar of Politics and Performance with Shirin Rai (2014), and Gendered Citizenship: Manifestations and Performance with Bishnupriya Dutt and Shrinkhla Sahai (2017). 

The TDPS Speaker Series, which is free and open to the public, is presented on Thursdays throughout the academic year.

Dancing Cy(i)phers: Hip Hop’s Embodied Expression

As a symposium and workshop offering, Dancing Cyphers: Hip Hop’s Embodied Expression will bring together dance communities interested in Hip Hop (an umbrella term). The event will delve into the history of African American street dance, culture, and the scholarship around its global impact and ancestral connections to specific African dance traditions. Panel discussions and master classes led by distinguished dance artists—Shabba Doo of the Original Lockers (Locking), Ejoe Wilson of New York’s Elite Force Crew (Hip Hop and House), Oakland native Traci Bartlow of Starchild Entertainment (vernacular jazz and Hip Hop), and Oakland native Darrin Hodges of Oakland’s Gentlemen of Production (Boogaloo)—will give participants a glimpse of the cultural and socio-political-economic landscape from which hip hop and other street dance forms (freestyle, club dance, breakin’, locking, popping, krumping, turfing, boogaloo, etc.) emerged regionally in African American communities. The day will conclude a workshop in African Dance Presence in Hip Hop open cypher.

Exploration of Forms | Symbology of Orixá Dances Workshop with Rosangela Silvestre

A study of the connections between the rhythms and the traditional movements, archetypes and stories of the Orixa dances, interpreted as an art form. This class is a journey into the discovery of how the sacred symbolism of this tradition inspires the body to dance, making the connection between the traditional movements and rhythms of the Orixa, to our own human nature.

Exploration of Forms is a free, public workshop series. No previous dance experience is necessary. All workshops take place on Sundays, 1-3pm, in Bancroft Dance Studio at UC Berkeley. Donations are encouraged.

Exploration of Forms | Integrated Queer Ballet Workshop with Julia Havard

Integrated queer ballet takes what we love about ballet and leaves the rest. This is a deconstructed ballet class for every body and is an integrated space for disabled and non disabled people with any level of experience with ballet to explore ballet’s resources and unpack ballet’s hierarchies and histories. We will take ballet’s juiciest most joyful tools and use them to queer and contest oppressive dance practices, to heal our relationships with our bodies, and to connect with one another. During class, we will co-create a warm-up, explore ballet vocabulary translated across the body, learn a ballet-ish phrase, and collaborate on our own short movement pieces, all to deeply dramatic music.

Come in your sparkliest ballerina drag or your best postmodern drab, ready to move.

Exploration of Forms is a free, public workshop series. No previous dance experience is necessary. All workshops take place on Sundays, 1-3pm, in Bancroft Dance Studio at UC Berkeley. Donations are encouraged.

Exploration of Forms | Afro Cuban Dance Workshop with José Francisco Barroso

This class focuses on the explosive and subtle sacred expressions of the Orisha (Yoruba deities), as well as the dances of the Dahomey-Arará (Vodu, Gaga), and Congo (Palo, Makuta) regions. Barroso’s class offers students a strong understanding of polyrhythm and the kinesthetic distinctions of Afro-Cuban traditional dances, rhythms, and movements. All levels welcome. Live drumming!

Exploration of Forms is a free, public workshop series. No previous dance experience is necessary. All workshops take place on Sundays, 1-3pm, in Bancroft Dance Studio at UC Berkeley. Donations are encouraged.


Born in Havana, José Francisco Barroso studied from a very young age the popular Cuban styles- son, casino, rueda, and rumba. Barroso describes these art forms as an expression of everyday life in Cuba and as a symbol of the vibrancy of the Cuban people. Additionally, he was recognized throughout Havana for his skills in hip-hop and break dance, and studied with Cuba’s Compania Folklorica Raices Profundas.

As a director, choreographer, and teacher, José Francisco Barroso has received numerous grants and awards, such as The Isadora Duncan Dance Award (2006), California Arts Council Artist-In-Residence Grant (1995-2001), ACTA’s Living Cultures Grant Program (2006, 2015), and has held residencies at several universities such as Stanford University, California State University Sacramento, San Jose State University, Humboldt State University, San Francisco State University, New College of San Francisco, University of Wisconsin-Madison, Laney College, Mills College. 

Barroso currently teaches a weekly class open to all levels on Tuesdays, 7pm, at ODC in San Francisco.

Exploration of Forms | Afro Cuban Dance Workshop with José Francisco Barroso

This class focuses on the explosive and subtle sacred expressions of the Orisha (Yoruba deities), as well as the dances of the Dahomey-Arará (Vodu, Gaga), and Congo (Palo, Makuta) regions. Barroso’s class offers students a strong understanding of polyrhythm and the kinesthetic distinctions of Afro-Cuban traditional dances, rhythms, and movements. All levels welcome. Live drumming!

Exploration of Forms is a free, public workshop series. No previous dance experience is necessary. All workshops take place on Sundays, 1-3pm, in Bancroft Dance Studio at UC Berkeley. Donations are encouraged.


Born in Havana, José Francisco Barroso studied from a very young age the popular Cuban styles- son, casino, rueda, and rumba. Barroso describes these art forms as an expression of everyday life in Cuba and as a symbol of the vibrancy of the Cuban people. Additionally, he was recognized throughout Havana for his skills in hip-hop and break dance, and studied with Cuba’s Compania Folklorica Raices Profundas.

As a director, choreographer, and teacher, José Francisco Barroso has received numerous grants and awards, such as The Isadora Duncan Dance Award (2006), California Arts Council Artist-In-Residence Grant (1995-2001), ACTA’s Living Cultures Grant Program (2006, 2015), and has held residencies at several universities such as Stanford University, California State University Sacramento, San Jose State University, Humboldt State University, San Francisco State University, New College of San Francisco, University of Wisconsin-Madison, Laney College, Mills College. 

Barroso currently teaches a weekly class open to all levels on Tuesdays, 7pm, at ODC in San Francisco.

TDPS Speaker Series | Knowing Through Moving: 50 Years of the Dance Program

Prior to the opening of Berkeley Dance Project 2019, join TDPS for a panel discussion about the illustrious 50-year history of the dance program at UC Berkeley. Panelists include: Marni Thomas Wood, professor emerita and dance program co-founder; Joe Goode, professor of dance; and Wendy Rogers, professor emerita of dance (UC Riverside).


 

After graduating from Sarah Lawrence College in 1958, Marni Thomas Wood joined the Martha Graham Dance Company, toured and performed with the Company, taught at the Graham School, and was privileged to be part of the first generation of women to perform Ms. Graham’s own roles as Graham began choosing successors for her earlier repertory reconstructions. In 1968, with her husband/partner David Wood, and their three children, Ms. Thomas Wood relocated to establish the dance major at the University of California Berkeley. In addition to choreographing, teaching, and administrating for the dance program, she served as Chair of the Department of Dramatic Art, Chairman of the Chancellor’s Advisory Committee on the Arts, and received three Isadora Duncan Awards for her contribution to the professional dance scene in the San Francisco Bay Area. Throughout her California years, she sustained an ongoing relationship with the Graham organization, and, upon retirement from the university, Ms. Thomas Wood returned to New York to serve as director of the Martha Graham School of Contemporary Dance from 2003 through 2006. Currently, she serves as a consultant and rehearsal coach for the Graham Company, and is a faculty member of the Martha Graham School.

Joe Goode (Professor, UC Berkeley) is Artistic Director of Joe Goode Performance Group with whom he has performed in the U.S., Canada, Africa, South America, and the Middle East. His performance installations have been commissioned by the Krannert Art Museum, the M. H. DeYoung Museum, Capp Street Project, and The Fowler Museum of Cultural History, UCLA. Awarded a New York Dance and Performance Award (“Bessie”) for his production of Deeply There, he has also received the Isadora Duncan Award for choreography, fellowships from the National Endowment for the Arts, the California Arts Council, and the Irvine Fellowship in Dance. He is the recipient of the 2007 John Simon Guggenheim Fellowship for Choreography and the USA Artist’s Fellowship for Choreography in 2008. He has been honored with awards for excellence by the American Council on the Arts, the Business Arts Council/San Francisco Chamber of Commerce, and the California Dance Educators Association. In addition to the more than 50 new works for his own company, Goode’s work has been commissioned by dance companies across America. His play, Body Familiar, was commissioned by the Magic Theatre San Francisco and premiered there in 2003.

Wendy Rogers (Professor Emerita, UC Riverside) has choreographed and performed contemporary dances for over forty years, residing in the San Francisco Bay Area, New York City and now in Riverside, California where she joined the University of California dance faculty in 1996. She has worked in projects produced by choreographers Margaret Jenkins, Carolyn Brown, Sara Rudner; composers John Luther Adams, Paul Dresher; and in one instance on the moon of Endor, filmmaker George Lucas. The Wendy Rogers Dance Company (1977-90), and subsequent ten-year projects MAKESHIFT dancing and WENDY ROGERS dancing, toured nationally and internationally. In her multi-year projects, dances focused by singular concepts evolve and morph into specific performances allied to occasion and place. She has received Fellowships from the Foundation for Contemporary Arts, the Irvine Fellowship in Dance, the John Simon Guggenheim Foundation, and the National Endowment for the Arts, as well as a 2009 Fulbright Fellowship in Malaysia. Rogers’ current project See What Happens (2011- ) rekindles past dancing and artistic relationships through ‘REPO’ – the recovering and altering of histories at play in the making of new work.

To the Academy: A Lecture-Demonstration by Third Space Performance Lab

Two performers of unusual talents rehearse how they will delight and confound a group of earnest scholars. Intent on conjuring the colonial object of inquiry who refuses to cooperate and the privileged angst of the postcolonial, diasporic intellectual, the performers grapple—literally—with the gendered, raced, and sexual assumptions that construct knowledge. Multiple performance codes intersect and collide with Kafka’s “A Report for an Academy” and the Natyashastra as the collaborators slip and slide across the boundaries of theatre and “reality.”


 

Third Space Performance Lab is a collaborative project between Indo-American dancer-performer Shanti Pillai and Guyanese-Canadian actor Marc Gomes. We come from different theatrical backgrounds and together stake our claim for the overwhelming importance of humor and beauty. Our base is Los Angeles.

Our work lives between experimental performance, installation, and popular media. We instigate questions of gender, nationality, and hybridity through images of ethnic ambiguity and by juxtaposing unexpected points of cultural reference. We blur the boundaries between performance and audience and play with the distinctions between actor and character. Our bodies are the central focus of what we do and speak in multiple theatrical languages. We draw from Brecht, Grotowski, hatha yoga, Schechner’s Rasaboxes, and Stanislavski. Our own writing mingles with texts from others. Embodying theoretical discourse is an integral part of our process. We are informed by scholarship and in turn, our performances seek both to delight and to provoke reflection.

Shanti Pillai is an artist, scholar, and writer. She is a bharatanatyam dancer trained by the great T. Balasaraswati’s two senior disciples, Nandini Ramani of Chennai and Priyamvada Sankar of Montreal. She performed with the Frente de Danza Independiente in Ecuador from 1991-1994, and worked for extensive periods in Cuba from 2006-2014, collaborating with dancers and actors and creating and performing in original works, including a multicultural version of Shakuntala. Her writing has appeared in The Drama Review, Conversations Across the Field of Dance Studies, Women and Performance, the Dance Research Journal, Trialog, and the blog of the Michigan Quarterly. In 2017 she received a Fulbright Research Award for her project about women artists’ contributions to contemporary performance in India across the genres of theater, dance, digital media, and performance art. Shanti holds a BA in Anthropology and International Relations from Stanford University (1989), an MA in Asian Studies from the University of California at Berkeley (1990), and a PhD in Performance Studies from New York University (2005). She is currently Assistant Professor of Theatre Arts at California State University at Long Beach, USA.

Marc Gomes is an actor, writer, and teacher. He has acted in notable Canadian productions of As You Like It, A Slow Dance On the Killing Ground, Edmond, A Taste of Honey, The Gayden Chronicles, Sweet like Suga and the North American premiere of Ryszard Kapuscinski’s The Emperor. He has starred in several television series including, The Crow: Stairway to Heaven; Sue Thomas: FBeye; Commander in Chief; and Lightning Force. In 2009 he was awarded a UNIDO Cinematic & Entrepreneurial Motivation Award for his screenplay adaptation of the Caribbean classic, Corentyne Thunder by Edgar Mittelholzer. He holds an MFA in Acting Pedagogy from California State University at Long Beach. He is currently Assistant Professor of Theatre at Ithaca College, USA.


Event Co-Sponsors: Asian American and Asian Diaspora Studies; Center for Race and Gender; Gender and Women’s Studies; History of Art Department; Institute for South Asia Studies; Institute of International Studies Faculty Working Group on Gender and the Transpacific; Theater, Dance, and Performance Studies; Townsend Center for the Humanities

TDPS Speaker Series | Directing & Patriarchy: Towards Theater of Empowerment

Speaker: Éva Patkó, PhD, Theater Director, University Teacher, and Visiting Fulbright Scholar from the University of Arts Târgu-Mureș, Romania

Coming from an Eastern European theater tradition, Éva will present possible shifts from the Theater of Power towards the Theater of Empowerment.

Theater of Power follows patriarchal models and the credit for the work achieved is given to the director. It is a very comfortable position for a director to be in. Theater of Empowerment, on the other hand, is outside the establishment, it is under-financed, it is risky, and it is in the periphery of attention. 

Éva also experienced this transition in her work, and the year she spent in Berkeley a decade ago was a milestone in making this move. 

Periphery is familiar to her. As a woman director socialized and trained in a theater tradition built on patriarchal models, and also as an ethnic minority living in Romania, Éva’s work in theater has come to focus on modalities of acknowledging the other, partnering with the other, and ultimately empowering the other. 

The TDPS Speaker Series is offered on monthly Thursdays, 4–5pm, throughout the academic year. 

TDPS Speaker Series: Incarceration, Social Justice, Art, and Policy

 
Glenn Bailey, Activist 
William Drummond, Professor of Journalism, UC Berkeley
Ayodele Nzinga, Playwright and Director

 TDPS alum Eli Wirtschafter, Freelance Reporter and Producer

What happens when a person is wrongfully convicted? What if we can tell the story of this injustice through performance and theater and bring about change? This panel discussion will address the power of political performance made within prison systems and the people impacted by unjust incarceration practices. The panel will address how performance and art-making can lead to social justice advocacy and policy change.

The TDPS Speaker Series is offered on monthly Thursdays 4:00–5:00pm throughout the year. 

TDPS Info Session, Summer Abroad in Brazil: 113B Afro-Feminism, Dance, and Brazil

TDPS Info Session | SUMMER ABROAD in BRAZIL
Course 113B Afro-Feminism, Dance, and Brazil 

Program: July 8–August 16, 2019 |
Director: Amara Tabor Smith, Lecturer 

An immersive 6-week cultural experience in the Bahia of Brazil rooted in dance performance, social justice, and black feminist pedagogy. Students will become familiar with histories and contemporary debates of performance of the African diaspora with a focus on Afro Brazilian dance, Capoeira, and performance practices influenced by the Candomblé tradition. No previous dance or language experience required. 

Students will engage in workshops, lectures, journal writing, and a final presentation, with exposure to music, film, and literature. The course includes an anti-racist pedagogy in order to examine the constructions of race in and through performance practice. 

Program Dates: July 8 – August 16, 2019 
UC Berkeley: July 8 – July 12
Salvador: July 14 – August 16 
Participant cap: 20 people | 6 units

Classes the first week: UC Berkeley Campus. 
Weeks 2-6 held at the Federal University of Bahia, in Salvador Brazil with a cohort of local students, culminating in a performance with program participants and local artists in Salvador.

Eligibility: At least one year of college coursework completed before the start of the program. 2.0 GPA or higher. The program is open to everyone regardless of previous performance or language training.

Costs: Typically summer programs for this length cost between $5k and $8k per student including 6 units of college credit, housing, performances, tours, and hosted events. Does not include airfare and out of pocket expenses. Financial aid may be applied. A full cost detail including deadlines on deposit and payments will be available before December 1st 2018.

QUESTIONS? CONTACT:
Lecturer Amara Tabor Smith – amaratsmith@berkeley.edu | Associate Professor Angela Marino – angela.marino@berkeley.edu

TDPS Meet & Greet: Meet our Spring Directors and Choreographers

Meet our Spring Directors and Choreographers | Thursday, October 25 | 4-5pm | Dwinelle 44B (TDPS seminar room off the hallway near the main office). 

Meet the Spring student directors and Associate Professor Peter Glazer (mentor, Pinter, María Irene Fornés, Samuel Beckett: Student Directed One-Act Plays, March 14-17), Lecturer Michael Moran (director, The House of the Spirits, April 26-May 5), and Kyra Katagi (choreographer, student workshop production). We will also have a presentation for the spring TDPS course taught by renowned Taiwanese director Stan Lai.

SPEAKER SERIES: The Making of Antíkoni with Jenni(f)er Tamayo, Beth Piatote, Mark Griffith, Catherine Cole

A free event, but feel welcome to register your spot by clicking the “Buy Tickets” button.

Panelists:
Jenni(f)er Tamayo, Director and Graduate Student, Theatre, Dance, and Performance Studies
Beth Piatote, Playwright and Associate Professor, Native American Studies
Mark Griffith, Professor of Classics and Theatre, Dance, and Performance Studies
Catherine Cole, Divisional Dean of Arts, University of Washington

A panel discussion offering diverse perspectives on the intellectual, practical, and political aspects of making the play, Antíkoni.  The panelists will discuss the play’s engagements with the Sophocles tragedy, Antigone, the contemporary conflicts over human remains, and the play’s inaugural reading in the Hearst Museum.

Panelists will consider the following questions: 

  • What are the merits and challenges of adapting classical theatre to speak to contemporary Indigenous struggles? 
  • How do the multiple forms of storytelling by embodied and disembodied voices in the play reverberate in spiritual and political ways?  
  • How do unresolved histories of colonial violence on university campuses and their museums affect performances? 

Sponsored by: 
Department of Theatre, Dance, and Performance Studies 
Department of Classics
Program in Native American Studies, Department of Ethnic Studies 
Arts + Design
The Phoebe A. Hearst Museum of Anthropology 

Jenni(f)er Tamayo, TDPS Graduate Student:
BA Human Development, Fundamentals: Issues & Texts, University of Chicago (2005), MFA Creative Writing-Poetry, Louisiana State University (2010). Born in Bogotá, Jennif(f)er is Nancy’s daughter. She is a queer, latinx writer and performer whose research attends to (the performativity of) contemporary poetry readings, asking the questions: what knowledges does the voice hold that are distinct from language; if a body is a site of ancestral knowledges, how do the violent legacies of slavery and settler colonialism haunt contemporary poetry “readings”?  She is a former CantoMundo Fellow and Hemispheric Institute of Performance and Politics Emerge Fellow.

Beth Piatote, Associate Professor of Native American Studies:
Her current book project, building on her recent monograph Domestic Subjects: Gender, Citizenship and Law in Native American Literature (Yale 2013), explores the ways in which Native American writers have drawn upon sensory representations such as sound and synesthesia to produce a distinct legal imaginary that contests settler-colonial incursion and affirms indigenous politics and aesthetics.

Mark Griffith Professor of Classical Greek Drama and Performance:
Ph.D. Classics, Cambridge University. Specialty in classical drama and performance; Greek and Latin literature; ancient Greek music.  Teaches cross-listed courses in Classics and TDPS on Greek Tragedy, Then and Now, and Gender and Performance in Ancient Greece.  Former Chair of TDPS (formerly the Department of Dramatic Art/Center for Theater Arts); Former Chair of UC Berkeley Classics Department.

Catherine Cole, Divisional Dean of Arts, University of Washington:
Catherine Cole, professor of drama, joined the Dean’s Office and University of Washington in 2016. Her areas of expertise include human rights, law and performance, African theater and performance in national and transnational contexts, ethnography and fieldwork, disability studies, performance in the global South, and contemporary American performance. Cole is formerly professor and chair of the Department of Theater, Dance and Performance Studies at the University of California Berkeley.

 

Antíkoni: Staged Readings by Beth Piatote, Associate Professor, Native American Studies

In this modern, haunting adaptation of Sophocles’ classic tragedy, Antigone, a Native American family is torn apart as they struggle over the fate of ancestral remains and their conflicting loyalties to different notions of tradition, law, and the price of sacrifice.

Antíkoni
Staged Readings
By Beth Piatote
Directed by Jenni(f)er Tamayo
 
Limited run 
Preview: Tuesday, November 6th at 5:30PM
Performances: Wednesday, November 7th at 1:00PM and 7:00PM 
located at the Phoebe A. Hearst Museum of Anthropology, 102 Kroeber Hall
 
Doors will open for chair and floor seating 30 minutes prior to each show.
ADA accessible. 

SPEAKER SERIES: Rulan Tangen, Choreographer, Indigenous Dance Making : Process and Performance : Growing Collaborations Between Earth and Her Peoples

Join us at the TDPS Speaker Series, a free presentation offered on monthly Thursdays 4:00–5:00pm throughout the year in the TDPS Conference Room 44B Dwinelle Hall. A reception will follow each event.


Indigenous Dance Making:Process and Performance:Growing Collaborations Between Earth and Peoples

Founding Artistic Director of Dancing Earth, Rulan Tangen brings us on an experiential, multi-sensory journey to ignite imagination and intuition around movement building – centering diverse global Indigenous worldviews of herself and collaborators as a circle of solidarity in the face of environmental challenges. Her global Indigenous heritage and ceremonial lineage inform her protocol of respectful relationship building with original First Nations peoples wherever she is invited. She thanks Huichin Ohlone – original caretakers of the land on which UC Berkeley is built – for welcoming her dance practice to the land they have sung and danced into renewal since the beginning of time.

She will poetically describe the motivation, questions, and guidance that has shaped her work of cultural exchange and collaboration, considering the process of decolonizing the body, and the energetic connection with all forms of life on earth. Her work values movement as an expression of global Indigenous cosmologies and is a movement of solidarity around ecological issues, taking responsibility to collectively restore dance to its purpose as functional ritual for transformation and healing of our era for all forms of life. She has recruited and nurtured a new generation of Indigenous contemporary dancers and holds the belief that “to dance is to live, to live is to dance.” 

Rulan Tangen – of heritage including Kampanpagan, Norwegian, is an internationally accomplished dance artist and choreographer and a 2018 Kennedy Center Citizen Artist.  She is the Founding Artistic Director and Choreographer DANCING EARTH, which has been noted in Dance Magazine as “One of the Top 25 To Watch”, National Dance Project Production and Touring Grant, as well as the National Museum of American Indian’s Expressive Arts award. Rulan is also recipient of the Costco Medal for Education, Research and Service by UC Riverside’s Chair of Native Affairs, as well as honoree by the Native Arts and Cultures Foundation for their First Dance Fellowship, for Artistic Innovation which supported DANCING EARTH’s creative development of a major community-driven eco-production centered on protection of water. As performer and choreographer, she has worked in ballet, modern dance, circus, TV, film, theater, opera and Native contemporary productions in the USA, Canada, France, Norway, Mexico, Brazil and Argentina.  DancingEarth.org

Cal Students! Audition on Sep. 18 for a staged reading of Antíkoni

Cal Students! Audition for a staged reading of ‘Antíkoni’, by Beth Piatote, to be performed at the Hearst Museum in November.

Sign-up on the TDPS callboard.  Lead roles and ensemble roles. Native and Non-Native students are welcome and encouraged to audition. 

The playwright is seeking students who are interested in the subject matter of the play and are excited to work on a new play. No formal acting training is required, however, students should be comfortable with public speaking, being directed in a diverse ensemble setting, and care about supporting community and participating in inclusive practices.

What do the living owe the dead, what are the moral limits of the State, and by what codes do we define what it means to be human? In this modern, haunting adaptation of Sophocles’ classic tragedy Antigone, a Native American family is torn apart as they struggle over the fate of ancestral remains and their conflicting loyalties to different notions of tradition, law, and the price of sacrifice.

Thursday, September 20
Audition callback for the reading of ‘Antíkoni’ | 5-8pm | 44B Dwinelle 

Antíkoni: Two staged readings will take place on Weds, Nov. 7th at 1pm and 7pm at the Phoebe A. Hearst Museum of Anthropology. The ticketed performances also include a dress rehearsal on Tues. Nov. 6 at 5:30pm. Materials will be provided for cold reading; prepared monologues not necessary. Perusal scripts available in TDPS Main Office, Dwinelle 15. 

Rehearsals will take place on Tuesdays in October from 4-7 pm. Students cast may enroll for one unit with professor Mark Griffith, if they wish. 

Sponsored by TDPS; the Department of Classics; the Native American Studies Program; Berkeley Arts + Design; and the Phoebe A. Hearst Museum of Anthropology. Questions can be directed to Jennif(f)er Tamayo: j_tamayo@berkeley.edu. 

POSTPONED: TDPS SPEAKER SERIES – Shannon Jackson, Professor of Rhetoric and Performance Studies, (originally Sep. 13)

Please note: Our first TDPS Speaker Series talk featuring Shannon Jackson has been postponed, (previously scheduled for September 13th at 4pm in 44B Dwinelle). As soon as a new date is determined, information about time and location will be updated.

The TDPS Speaker Series is offered on monthly Thursdays 4:00 – 5:00pm throughout the year.  The series takes place in the TDPS Conference Room: 44B Dwinelle Hall, unless otherwise noted.

Shannon Jackson is the Cyrus and Michelle Hadidi Chair in the Humanities at the University of California, Berkeley, where she is Professor of Rhetoric and of Theater, Dance, and Performance Studies. In the fall of 2015, she was appointed to be the first Associate Vice Chancellor for the Arts and Design (AVCAD). In this leadership position, Jackson reports to both UC-Berkeley’s Chancellor and to its Executive Vice Chancellor and Provost. Her office is responsible for creating new operations and collaborations across departments, centers, presenting organizations, and initiatives in the arts and design for the entire campus. 

CIVIC RE-ENACTMENT and PUBLIC RE-ASSEMBLY

Re-Enactment has become a ubiquitous 21st century process, one that dynamizes populist ritual as well as artworld experimentation in participatory aesthetics.  Arguably, however, participants have very different understandings of what re-enactment is and who it might serve.  Art institutions also seem to deploy the practice in service of a range of goals—whether to recall history, to advance a conceptual art project, or to build community.  After surveying a range of possibilities, this lecture considers what happens when re-enactment is lodged inside civic processes.  What happens when civic processes—in all of their mundanity, bureaucracy, regression, and progression—are re-enacted? And what is the relation amongst aesthetic re-enactments and the other technological and policy domains explored at Cultures of Participation? Inspired by UC-Berkeley’s research platform on Public (Re) Assembly — and using debates around Free Speech as well as the work of Aaron Landsman and Paul Ramirez Jonas as touchstones — we will ask whether the concepts of citizenship is mourned or resuscitated in the moment of re-enactment.  What new things can we learn about re-enactment and participation when the “civic sphere” is the object? What new things can we learn about our own participation in the public sphere when re-enactment is our method of investigation? 

The House of the Spirits by Caridad Svich, based on the novel by Isabel Allende

Students & Seniors, UC Berkeley Staff & Faculty: $13 online in advance, $15 at the door (ID required)
General Admission: $18 online in advance, $20 at the door


 

A new play by Caridad Svich
Based on a novel by Isabel Allende

Directed by Michael Moran

Based on Isabel Allende’s best-selling novel, Caridad Svich’s The House of the Spirits follows three generations of the Trueba family — their loves, their ambitions, their spiritual quests, and their place in the post-colonial social and political turmoil embroiling their South American country. This darkly poetic adaptation incorporates magical realism to weave the personal and the political into a universal story of love, magic, and fate.

Online ticket link closes 2 hours before showtime. After that, you may purchase tickets at the door, depending upon availability.

TDPS Box Office policies and accessibility information is available here.

Beckett / Fornés / Pinter: Student-Directed One-Act Plays

Students and Seniors, UC Berkeley Staff and Faculty: $10 (ID required at door)
General Admission: $15
  


TDPS presents three one-act plays directed by TDPS students: 

Footfalls (1976) by Irish playwright Samuel Beckettdirected by Marie Shelton

Silence (1969) by British playwright Harold Pinter, directed by Benjamin Arsenault

Springtime (1989) by Cuban American playwright María Irene Fornés, directed by Gabriela Pool:

Unlike more traditional works, Silence relegates a sense of plot to the periphery, and works more to explore the characters’ interpretations and recollections of the events of their lives. It explores the way our perception of the past can vary from person-to-person, and can even change for ourselves as we age and our view of personal experience begins to blend and reform. The play exists almost as an anthology of half-remembered things and analyzes the way we cling to our memories, trying to piece together the few fractured and fleeting moments that we retain and deem our “history.”

Footfalls explores grief and loss in a deeply expressive way: the onstage actress is confined to pacing nine-steps, back and forth, at the front of the stage. Slow and methodical, Footfalls presents us with a story that underpins a lived experience — by participating, our own stories and experiences of grief and loss may be challenged and reinforced. The woman, together with the mysterious voice she suddenly hears, allows us to reflect on the rituals we all keep to preserve the dead and the lost from falling out of our memories.

Springtime examines the values of “heteronormative” marriage and subverts the roles to portray a beautiful story between two womxn. Fornés uses the relationship of these womxn to explore and dissect the values pledged through marriage vows, leading, as Fornés states, “the humanity [to be] not so much in the character, but in the situation.”


 

Online ticket link closes 2 hours before showtime. After that, you may purchase tickets at the door, depending upon availability.
General Seating | All sales are final | Please view our ticket policy

TDPS Box Office policies and accessibility information can be found here: http://tdps.berkeley.edu/productions-events/tickets/

 

Berkeley Dance Project 2019: the body remembers

Students & Seniors, UC Berkeley Staff & Faculty: $13 online in advance, $15 at the door. ID required.
General Admission: $18 online in advance, $20 at the door.
General Seating | All sales are final | Please view our ticket policy

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Celebrating the 50th anniversary of UC Berkeley’s dance program, Berkeley Dance Project 2019: the body remembers will feature an all-student cast performing pieces by professional choreographers Joe Goode, Rulan Tangen, Latanya Tigner, and Cherie Hill, as well as recent UC Berkeley alumna Katie O’Connor. Professor Emerita Marni Thomas Wood, co-founder of the dance program, will be on campus for a short residency, including a discussion of the dance program’s history on February 21.
 
 
From a haunting solo to a multi-sensory mosaic, the dance pieces in BDP 2019 represent a wide range of sources and styles: Goode incorporates spoken word and song into a piece based on the buddhist concept of “the undefended heart;” Tangen presents an organic creative response to a “re-mapping” and “re-storying” of campus based on Ohlone histories and perspectives; Tigner honors researcher, instructor and choreographer Ruth Beckford, recognized as the mother of African diasporic dance in the Bay Area; Hill draws from supernatural elements of her Jamaican Maroon ancestry; and O’Connor explores the tenderness, anguish, healing and transformation inherent in caretaking.
 
BDP 2019 will be accompanied by a photographic retrospective of the program’s history in the lobby of Zellerbach Playhouse.
 
The online ticket link closes two hours before showtime. After that, you may purchase tickets at the door, depending upon availability.
 

Program

the undefended heart

Choreographer: Joe Goode
Dancers: Madeline Aragon, Brandon Davis, Bruna Gill, Aldair Rivera

GROUNDWORKS HUICHIN: from Strawberry Creek to Shell Mounds

Choreographer: Rulan Tangen
Dancers: Elizabeth Bobrovnikov, David Cha, Joyce Chan, Jeze Fabijanic, Sadie Kimball, Jennifer Laybourn, Victoria Marsh,  Elizabeth Rivera

Fiercely Unbothered

Choreographer: Latanya D. Tigner
Dancers: Rowan Cassius, Dayah Colbert, Brandon Davis, Olivia Hanson, Yara Kanaaneh, Kyra Katagi, Mi Le, Aldair Rivera, Erin Sezgin

Burial

Choreographer: Cherie Hill
Dancers: Jeremy Brooks, Jeze Fabijanic

Spilt Milk

Choreographer: Katie O’Connor
Dancers: Jeremy Brooks, Mi Le

FALL CHOREOGRAPHY SHOWCASE 2018

The Fall Choreography Showcase highlights the original work of promising, emerging choreographers. Under the direction of choreographer and TDPS professor Joe Goode, TDPS students present original solos and duets. See the next generation of dance artists!

Program A: December 6 at 5pm / December 7 at 8pm

Choreographers:
Lashon Daley
Amanda Stelea
Elizabeth Bobrovnikov
Yara Kanaaneh
Andrea Braga
David Cha

Program B: December 6 at 8pm / December 7 at 5pm

Choreographers:
Zoe Marsh
Gina Bahr
Jeremy Brooks
Katie O’Connor
Bruna Gill
Jason Lin

Online ticket link closes two hours before showtime.  After that, you may reserve tickets at the door, depending upon availability.

Please note that there is no late seating in Zellerbach Room 7.  

TDPS Box Office policies and accessibility information can be found here: http://tdps.berkeley.edu/productions-events/tickets/

TARTUFFE: Molière’s classic comedy, translated into English verse by Richard Wilbur

NOTICE: Based on campus recommendations and the deteriorating air quality which is well over the 200 AQI threshold, we are cancelling the final “Tartuffe” performances for Nov. 16–18. Please direct questions to tdps@berkeley.edu. We apologize for this inconvenience.

Students & Seniors, Staff & Faculty: $13 online in advance, $15 at the door. ID required.
General Admission: $18 online in advance, $20 at the door
This performance runs 2 hours and 15 minutes (includes one 10-minute intermission)
General Seating | All sales are final | View our ticket policy

Written by Molière, translated into English verse by Richard Wilbur
Directed by Domenique Lozano
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TDPS continues its 2018-19 season with Tartuffe, a daring and witty comedy that tells the story of a crafty trickster who uses religion as a guise to flatter the vulnerability of a wealthy patriarch. Initially censored following its 1664 premiere, the play is one of Molière’s most famous works and will be presented at the Zellerbach Playhouse stage on the UC Berkeley campus. Translated into English verse by Richard Wilbur, and directed by Domenique Lozano, Tartuffe runs November 9-18. Tickets are $13 to $20 and can be purchased online through the TDPS box office or at the door.

A con man disguised as a pious spiritual leader wheedles his way into the home of a gullible, affluent man in the midst of a mid-life crisis—and promptly sets the household topsy turvy. If not for the quick witted Dorine, grounded Elmire, and infinitely patient Cléante, all might be lost! Lechery, egotism, young love, deception, and delusion collide in Tartuffe, Molière’s classic work that skewers religious hypocrisy and self-inflated egotism.

Tartuffe hits the heart of present and historical events. “I think it’s a perfect play for our times; this very moment in our history,” observes Director Domenique Lozano. “Watching Tartuffe, we can start to imagine a real scenario where such an imposter and con man can take over a seemingly normal and balanced family’s life. But as we have learned in our current times, even the most respected house can be corrupted. So, this story has resonance and relevance in a very direct way.”

Tartuffe
examines how power is vulnerable to manipulation by piety, hypocrisy, and gullibility. Although King Louis XIV privately enjoyed Tartuffe’s debut, he was persuaded by religious advisors to ban the play after church leaders called Molière “a devil clothed in human flesh” and the Archbishop of Paris threatened to excommunicate anyone who attended a performance. Molière’s defense of Tartuffe argued that comedy is a physical embodiment of “the unreasonable”, and so the play of reason against the irrational is the necessary subject of comedy. “I love that it is a comedy,” shares Lozano, “one that moves with lightning speed, slams characters up against each other brutally and brilliantly, and deals with a terrifying situation with humor, wit and grace.”  

Lozano embraces the challenge of working with the play’s rhyming couplets and verse: “
Molière’s humor and astonishing wit in the rhyme invites us into a world where people are boldly exposed and revealed. The rhyming allows him to be brutally honest. He can say the most wicked things, or portray Tartuffe‘s avarice and underbelly so directly, but because it’s written in rhyme, we don’t turn our faces away. Rather, we laugh and actually ‘see’ it more clearly. The rhyme keeps the piece from being a dark tragedy, and in a way, gives us hope.”

Significantly, Tartuffe is presented within UC Berkeley’s deep-rooted tradition of critical inquiry, debate, and freedom of expression, and Lozano hopes that audience members might become inspired to start conversations or feel compelled to take action. She explains, “To be doing this play at Berkeley is meaningful given the University’s historical commitment to education and a diverse search for the truth. Molière was fearless in his depiction of hypocrisy and corruption. He risked everything and fought his entire career for these specific plays to have the right to be performed and seen.”

View the press release.

70 SCENES OF HALLOWEEN by Jeffrey M Jones

Students & Seniors, Cal Staff & Faculty: $13 online presale, $15 at the door. ID required.
General Admission: $18 online presale, $20 at the door.

PRESENTED IN APPROXIMATELY 90 MINUTES WITH NO INTERMISSION
Written by Jeffrey M Jones, Directed by Christopher Herold
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TDPS opens its 2018-19 season with 70 Scenes of Halloween, a spooky, scrambled, and sly comedy that transforms the unraveling of a marriage into a frighteningly funny and fantastical romp. Written by experimental playwright Jeffrey M Jones, this fast-moving scuffle will be presented in an intimate configuration on the Zellerbach Playhouse stage on the UC Berkeley campus. Directed by Christopher Herold, 70 Scenes of Halloween runs October 11-14. Tickets are $13 to $20 and can be purchased online through the TDPS box office (http://tdps.berkeley.edu/events/70-scenes-of-halloween/) or at the door. 

The play reveals a young married couple, Jeff and Joan, who seem set to spend Halloween on their couch in a state of mild antagonism and mutual boredom. But as time fragments and reassembles, dark forces emerge and they must contend with ghosts, beasts, and witches banging on windows, wafting through rooms, and wielding butcher knives. 

The turbulent tale abandons linear narrative in favor of 70 brief scenes played out of order, resulting in a wild, dreamlike ride that blends realism with psychological surprise and humor. One minute, the couple is greeting trick-or-treaters, and the next, they are succumbing to inner demons, chasing each other through the living room brandishing a butchered chicken. Husbands becomes wolves and wives become phantoms in this domestic drama about a marriage dying of familiarity. Their haunted home offers a weirdly comical and thought-provoking glimpse into the nature of relationships.

Jeffrey M Jones uses the traditional institution of Halloween to deliver a message of estrangement, and to assert the frequent inadequacy of language. The play is an autobiographical work written in 1980, during the collapse of Jones’ own marriage.  Adding to the absurdity, he dedicated the play to his wife, whose name was Joan.

“While 70 Scenes of Halloween can be described as a domestic tale about a disintegrating marriage, it also reveals more profound truths,” says director Christopher Herold, “—our inner demons, fears, hopes, and the power of forces over which we seem to have no control.”  Herold has been intrigued by this play for many years, in part because of the ability to arrange the scenes in any order—creating a different story, message, and journey with each composition. He is inspired by the play’s insightful revelation of the human condition, and its imaginative theatricality, explaining, “The play is a wonderful concoction of differing tones and genres, moving rapidly and slyly from wild humor to bleak despair, from living-room domesticity to time-warped, altered reality.  Additionally, it’s a work that the audience probably hasn’t seen before, providing a rare opportunity to engage something fresh and unknown.”

View the press release

New Play Reading Series: Natural Women by Aparna Nambiar

A play about a relationship between mothers and siblings, Natural Women explores the habits of love and heartbreak we learn from family. In a house overcast with clouds of met and unmet desires, the three children of a straying mother and cuckolded father navigate their relationship with each other, with ultimately tragic consequences. Taking crucial plot points from mythical Greek stories, the play recasts well known mythic characters -the web-spinning Ariadne, the naive and ultimately corrupted Phaedra, the monstrous Minotaur and the ever-heroic Theseus, as archetypes for contemporary characters working through the quandaries of the human heart.

Join us for a free reading of the play Natural Women by Berkeley graduate student Aparna Nambiar, followed by a discussion with the playwright and Toshi Pau, the director. Presented by the Department of Theater, Dance, and Performance Studies.

Playwright Aparna Nambiar is graduate student at UC Berkeley’s Department of Theatre, Dance, and Performance Studies. Having been a classical dancer and performing artist for many years, Aparna ‘s love for mythic stories have only been enhanced by her tryst with western classical theatre at TDPS. Natural Women is Aparna’s first full length play and she is absolutely delighted to have this opportunity to bring to life her passion for mythical stories and workshop her ideas in play form, along with the many talents of TDPS. In her day job, Aparna works on writing a doctoral thesis on art, culture and the State in Singapore.

Director toshi pau is a second year Ph.D. student in the Department of Theater, Dance, and Performance Studies at U.C. Berkeley, and a co-director of the New Play Reading Series for the 2017-2018 academic year. His interests as a new playwright revolve around the possibilities of language and non-language in theater, meaning and the absence/construction of context, and disturbing preconceived notions of reality. Through the Play Reading Series, he was able to debut his own play Left Unfinished last semester. He has previously directed Marie Yuen’s Tourist Trap and is excited to bring Aparna Nambiar’s debut work Natural Women to life for your enjoyment.

The New Play Reading Series brings outstanding new and in-progress work by up-and-coming and established playwrights to the UC Berkeley campus. In the monthly New Play Reading Series, new plays are read by TDPS students, followed by a discussion with the playwright. This is sponsored by the Townsend Center for the Humanities in conjunction with the Department of Theater, Dance and Performance Studies.

BIG GIVE 2018

Give Today and Change the World

150 Years of Light.  On March 23, 1868, the University of California was born. And Berkeley, its first campus, is today the most distinguished public university in the history of higher education. Guided by the motto Fiat Lux, our duty is to bring new knowledge to light … to illuminate solutions for bettering the human condition … to be a beacon of opportunity for promising young minds and top faculty. Throughout 2018, let’s celebrate 150 years of light — and project that light forward for another 150 years.

If you support the work of TDPS and believe that the arts have a powerful role to play in today’s world, we hope you will consider making a tax-deductible gift today to support the work of TDPS.

Your donation to TDPS directly impacts key areas within our undergraduate and graduate programs, allowing us to further TDPS’s mission of “teaching performance as a mode of critical inquiry, creative expression and public engagement.” With your help, we can continue:

  • producing shows that offer students unparalleled hands-on learning experiences;
  • supporting the diverse visiting artists that engage our students;
  • keeping ticket prices affordable; and
  • acquiring the latest technical equipment for our stages and rehearsal rooms; and
  • reaching thousands of students each year in our classrooms and audiences.

We are grateful for your donation of any size! 

CalDay 2018 – TDPS Events

CalDay is UC Berkeley’s annual open house to welcome the community, prospective students, current students, kids and families. For complete information about the day, please visit the Cal Day website. Events hosted by the Department of Theater, Dance and Performance Studies are as follows:


Theater as Research and Research as Performance – Honors Project Presentations

10-11am
Zellerbach 170

The Department of Theater, Dance, and Performance Studies invites you to watch four short presentations of new plays generated from embodied research. Undergraduate Theater and Performance Majors will present 6-8-minute selections from their original dramatic works, and share their playwriting processes. These Honors Project pieces explore bi-racial identity, homelessness, alcoholism, and cross-cultural education. Followed by Q&A.

Demonstration and Information Session: UC Berkeley Dance Program
11-11:45am
Bancroft Studio

Students in the Department of Theater, Dance, and Performance Studies’s “Intermediate Modern Dance” class share movement combinations and choreography, followed by a Q&A session about TDPS with Department Chair Lisa Wymore.

Information Session: Dance the Bay (Student Run Dance Organization)
11:45am-12:15pm
Bancroft Studio

Meet core members of this exciting student-led dance group as they share their mission to promote dance through teaching youth, community outreach, and performance. They will also discuss how they became an Associated Students of the University of California (ASUC) sponsored group and what that means.

Staged Reading of the play BARCODE, presented by The Department of Theater, Dance, and Performance Studies
1-2pm
Zellerbach 170

Join us for excerpts from BarCode, a new play by undergraduate TDPS student Lila Mullins that wittily explores bartending culture and relationships, informed by a decade of firsthand experience. Lila will also discuss the research and creative process that went into this Honors project, from surveying bartenders to researching the psycho-social-addictive pull that a bar has on its patrons.

50 free tickets to the TDPS performance of THE DREAM OF KITAMURA
8:00pm
Zellerbach Playhouse

When Lord Rosanjin dreams the demon Kitamura is coming to kill him, he hires two bodyguards as defense against his hallucinations—but are they who they appear? Award-winning playwright Philip Kan Gotanda weaves a mythic fever dream of how love kills love. 50 tickets available, first come first served, at the box office beginning at 7pm. Limit 1 per person.


 

QUEM EU? (STUDENT WORKSHOP)

Quem Eu? is a TDPS Workshop (work-in-progress) presented by undergraduate Livia Gomes Demarchi

Freedom of speech and cultural microaggressions collide when a South American exchange student realizes she is not living the “American dream” in small, rural El Dorado, Kansas. Through humor and critical self-analysis, Livia Gomes Demarchi relives her time as an exchange student in Bush’s America, exploring themes of patriotism and assimilation, and questioning if liberty and justice for all also applies to immigrants.

Livia Gomes Demarchi is a Bay Area based Latinx actor who has performed with companies such as the San Francisco Playhouse (Bengal Tiger at the Baghdad Zoo), the San Francisco Shakespeare Festival (Comedy of Errors, Romeo and Juliet and Hamlet), Marin Shakespeare Company (Love’s Labour’s Lost, As You Like It and Richard III), BRAVA, Crowded Fire, Shotgun Players, Theater Rhinoceros, among others. As an undergrad at UC Berkeley, she has expanded on her acting training by exploring other forms of storytelling.Quem Eu?” marks her playwrighting debut. As she moves forward, she will focus on Latinx stories and the intersection of social justice with embodied art forms. “Obrigada” to all who supported this work and made it possible! 

GRADUATE SPEAKER SERIES – “Race Play: Racialized Gender and Sexuality in Settler Colonial North America”

“Race Play: Racialized Gender and Sexuality in Settler Colonial North America” brings together two scholars who work at the intersections of racialization and gender and sexual identities—C Winter Han and Scott Morgensen—to considers how these issues become co-constituted in contemporary settler colonial North America. 

The conversation will be followed by an audience Q&A.
This event is free and open to the public.

Presented by the UC Berkeley Departments of Theater, Dance, and Performance Studies; Ethnic Studies; and Gender Studies, as well as the Townsend Center. 

About the speakers:

Chong-suk Han attended college at the University of California, Berkeley and received his PhD in 2007 from the University of Washington. His areas of expertise are race and sexuality, particularly the ways that categories of race and sexuality are socially constructed and the way multiple identities intersect. Before becoming an academic, Dr. Han was an award-winning journalist whose work has appeared in both national and local magazines and newspapers. He served for three years as the editor-in-chief of the International Examiner, the oldest continuously publishing pan-Asian American news paper in the United States. Professor Han spends most of his spare time trying to come up with clever titles for his manuscripts.

Scott Morgensen an ethnographer and historian of social movements. Dr. Morgensen’s research within U.S. queer politics sought to examine how white queer cultures and politics form in relationship to settler colonialism. His first book, Spaces between Us: Queer Settler Colonialism and Indigenous Decolonization, examined these themes in response to longstanding and enduring critiques of colonialism and racism by Two-Spirit / queer / trans Indigenous activists and by queer/trans activists of color. A current SSHRC-funded research collaboration with Lisa Kahaleole Hall (Wells College) and AW Lee (University of Toronto, Mississauga) is recording memories of activist challenges to racism, colonialism, and gender and sexual oppression crossing Canada and the United States. Dr. Morgensen received his PhD in Anthropology (Women’s Studies) from the University of California at Santa Cruz in 2001.

Brown Bag Lunch + Info Session: Study Abroad in Ireland, Summer 2018

Bring your lunch and join us for this info session to learn more about TDPS’s Summer Abroad course “Irish Theater,” which will run July 9-August 11, 2018 in Galway and Dublin, Ireland. This five-week, six-credit course begins with one week of classes in Berkeley before a four-week trip to the Emerald Isle to study Irish theater at its source.

Irish theater, in both the Republic and Northern Ireland, is at an unprecedented level of popularity as measured by the number of international tours, productions, and translations of plays worldwide in recent years. The 20th century opened with the powerful resurgence of Irish writing brought about by W.B. Yeats’ and Lady Gregory, whose Abbey Theater set the standard for the aspirations of national(ist) theaters around the world. It ended with overlapping waves of renewal: from the founding of major new theater companies like Field Day and Charabanc in the North in the 1980s to the arrival in the 1990s and 2000s of a new wave of theater companies. In the early 21st century, Irish theater stands poised to continue expanding the scope and influence of this body of work, despite the huge social, cultural and economic upheavals of the past twenty years. This study abroad program takes advantage of Ireland’s rich theater, literary and historical culture by engaging students in the study and practice of Irish Theater from historical and contemporary contexts.

About the Course: 
Irish Theater: Origins and Contemporary Performance takes advantage of Ireland’s rich theater, literary, and historical culture by engaging students in the study and practice of Irish Theater from historical and contemporary contexts. Students will engage with Irish dramatic literature, history, and cultural theory in lecture, discussion, and practice. They will apply their knowledge to writing weekly critical essays addressing productions, presenting scene-work from the Irish theater, trips, and class activities in order to integrate their intellectual knowledge with their lived experience as theatergoers, performers, and visitors in Ireland.

The first week of the program will be in Berkeley, where students will be introduced to the material and prepare for travel to Ireland. For two weeks students will lodge and study at the National University of Ireland, Galway, adjacent to Galway City Centre. Galway’s arts scene is renowned throughout Ireland, especially for music and theatre. Our arrival in Galway coincides with the start of the annual Galway Arts Festival, Ireland’s largest international arts festival, giving students the opportunity to participate in talkbacks and workshops not only with West of Ireland companies but also with visiting artists.

For our final two weeks students will lodge and study at Trinity College Dublin, located in the heart of the city–an institution central to the study of Theater and literature in Ireland, and the alma mater of many of Ireland’s best-known playwrights and Theater artists including Samuel Beckett, J.M. Synge, Oscar Wilde, Oliver Goldsmith and George Farquhar. Most of Dublin’s major theaters and historical sites are within walking distance of our classroom. Our daily classes will be held at the Samuel Beckett Centre, which houses the TCD School of Drama.

Students will attend at least ten plays/performances at theaters such as the Abbey, the Gate, and Druid as well as visit historical and cultural sites associated with the advent of Irish theatre and literature and the Irish struggle for independence. We will also welcome prominent theater artists into our classroom for talkbacks and group workshops. Past Guests have included Druid Theater’s Casting Director, Maureen Hughes, Barabbas’s artistic director, performer and clowning expert Raymond Keane, Irish Modern Dance Theater’s John Scott, and the co-artistic directors of the internationally acclaimed Brokentalkers, Gary Keegan and Feidlim Cannon and acclaimed scenic and lighting designer Sabine Dargent.

Dates:
Five-week program: July 9th – August 11th 
7/9/18 – 7/13 /18 in Berkeley
7/16/18 – 7/29/18 in Galway (students check in on 7/16; classes begin 7/17)
7/30/18 – 8/11/18 in Dublin (classes end on 8/10, and student’s checkout from lodging 8/11)
All dates are subject to change.

Units: 6 units

Courses: TDPS 113A: Irish Theater: Origins and the Contemporary Scene. This course fulfills the Performance and Literature Upper Division requirement for Majors and Minors. It also fulfills International Studies requirement or Arts and Literature requirement of the Seven-Course Breadth Requirement for the College of Letters & Sciences.

Eligibility: At least one year of college coursework completed by the start of the program. 2.0 GPA or higher

Cost: Visit http://studyabroad.berkeley.edu/program/summerabroad/ireland for a cost breakdown. Scholarship opportunities will be discussed at the info session. 

Application:
• Application opens February 1, 2018
• Space is limited, and applications are accepted on a first-come, first-served basis
• Deadline to apply is March 9, 2018

FIVE WAYS TO LEARN MORE: 

1) Attend this info session! Thursday, February 8 from 5-6:30 PM in TDPS Seminar Room, Dwinelle 44B. Hosted by program director Christine Nicholson.
2) Visit the UC Berkeley Study Abroad page here: http://studyabroad.berkeley.edu/program/summerabroad/ireland
3) See last year’s website/blog: https://tdpsabroad.wordpress.com/blog/
4) Read what a previous student had to say about the program: http://tdps.berkeley.edu/september-student-spotlight-ely-orquiza/
5) Ask questions. Please direct any questions to program director Christine Nicholson at nicholsonjc@comcast.net.

New Play Reading Series: Only You Get Me by Sam Peurach

After traveling for two weeks, Cam and Selena find themselves stranded in an underwhelming 2-star hotel near a train station in Hamburg, Germany. With no trains until morning, passions spark and a promise is made: to be intimate upon their future return to Hamburg, even if they have been with other people in the interim. 10 years later, that promise is tested when the two find themselves back in the same hotel room, searching for what they once had while trying to maintain who they had become.

Join us for a reading of the play “Only You Get Me” by Berkeley alum, Sam Peurach, followed by a discussion with the playwright and the director, Jennifer Coluccio. Presented by the Department of Theater, Dance, and Performance Studies.

About the Playwright
Sam Peurach is a recent graduate of UC Berkeley.  He was a recipient of the Mark Goodman Award for Dramatic Excellence and the Theater, Dance, and Performance Studies Citation Award. He now lives back in his hometown of Los Angeles where, like many people, he is pursuing his acting career of being that one guy from that one show. “Only You Get Me” is Peurach’s first full length play and he is honored to be able to go through this amazing experience of having it workshopped in his home department–where the writing first began.

About the Director
Jennifer McPherson Coluccio is a Ph.D. student in Performance Studies at the University of California, Berkeley. She was a theatre and film actor in New York and Los Angeles with credits that include In Justice, Entourage, Iron Man 3 and a five-year run in Tom Salamon and Neil Patrick Harris’s live interactive series, Accomplice. She has been an acting instructor and director for a private Meisner conservatory, Excelsior College, and California State University, Los Angeles.

About the New Play Reading Series
The New Play Reading Series brings outstanding new and in-progress work by up-and-coming and established playwrights to the UC Berkeley campus. In the monthly New Play Reading Series, new plays are read by TDPS students, followed by a discussion with the playwright. This series is sponsored by the Townsend Center for the Humanities in conjunction with the Department of Theater, Dance and Performance Studies.

The Grey Area (Student Workshop)

The Grey Area is a TDPS Workshop (work-in-progress) presented by undergraduate Logan Moody. 

In a surreal landscape, two people—each running from and towards something—meet on a swing set, and everything changes. This multimedia performance piece incorporates movement, acting, gesture, music and film to ask hard questions about identity, race and belonging in today’s world.   

This workshop is free, but a reservation is required.

Zellerbach Room 170 can be accessed by entering through the stage door of Zellerbach Hall (located down the stairs behind the Cal Performances box office — to the left of the Zellerbach Playhouse). Go straight down the main hallway, then turn left at the end of the hall. Room 170 will be on your left, across from the restrooms. The stage door personnel can also assist with directions. If arriving by car, plan ample time for parking. Map

“Exploration of Forms” Public Movement Workshop: Afro Cuban Dance with José Francisco Barroso

TDPS presents a series of three spring workshops with Cuban dancer and choreographer José Francisco Barroso. These workshops focus on the explosive and subtle sacred expressions of the Orisha (Yoruba deities), as well as the dances of the Dahomey-Arará (Vodu, Gaga), and Congo (Palo, Makuta) regions. Barroso’s class offers students a strong understanding of polyrhythm and the kinesthetic distinctions of Afro-Cuban
traditional dances, rhythms, and movements. Join us for all three, or drop in for just one or two! The class is free, but cash donations for the drummers are welcome and encouraged.

ALL LEVELS WELCOME! LIVE DRUMMING! FREE!

10:30am-noon on three Sundays (drop in for one, or come to all)
January 28
February 18
March 18

UC Berkeley’s Bancroft Dance Studio
2401 Bancroft Way at Dana (entrance to studio on Dana)

See the poster: ExplorationForms_Spring2018

About José Francisco Barroso:
From a very young age, Havana-born José Francisco Barroso studied the Cuban dance styles of son, casino, rueda, and rumba. Barroso describes these art forms as an expression of everyday life in Cuba and as a symbol of the vibrancy of the Cuban people. He was recognized throughout Havana for his skills in hip-hop and break dance, and studied with Cuba’s Compania Folklorica Raices Profundas. As a director, choreographer, and teacher, Barroso has received numerous grants and awards, including the Isadora Duncan Dance Award, a California Arts Council Artist-In-Residence Grant, and ACTA’s Living Cultures Grant Program, and has held many residencies at universities. Barroso currently teaches a weekly class open to all levels on Tuesdays, 7pm, at ODC in San Francisco. 

“Exploration of Forms” Public Movement Workshop: Afro Cuban Dance with José Francisco Barroso

TDPS presents a series of three spring workshops with Cuban dancer and choreographer José Francisco Barroso. These workshops focus on the explosive and subtle sacred expressions of the Orisha (Yoruba deities), as well as the dances of the Dahomey-Arará (Vodu, Gaga), and Congo (Palo, Makuta) regions. Barroso’s class offers students a strong understanding of polyrhythm and the kinesthetic distinctions of Afro-Cuban
traditional dances, rhythms, and movements. Join us for all three, or drop in for just one or two! The class is free, but cash donations for the drummers are welcome and encouraged.

ALL LEVELS WELCOME! LIVE DRUMMING! FREE!

10:30am-noon on three Sundays (drop in for one, or come to all)
January 28
February 18
March 18

UC Berkeley’s Bancroft Dance Studio
2401 Bancroft Way at Dana (entrance to studio on Dana)

See the poster: ExplorationForms_Spring2018

About José Francisco Barroso:
From a very young age, Havana-born José Francisco Barroso studied the Cuban dance styles of son, casino, rueda, and rumba. Barroso describes these art forms as an expression of everyday life in Cuba and as a symbol of the vibrancy of the Cuban people. He was recognized throughout Havana for his skills in hip-hop and break dance, and studied with Cuba’s Compania Folklorica Raices Profundas. As a director, choreographer, and teacher, Barroso has received numerous grants and awards, including the Isadora Duncan Dance Award, a California Arts Council Artist-In-Residence Grant, and ACTA’s Living Cultures Grant Program, and has held many residencies at universities. Barroso currently teaches a weekly class open to all levels on Tuesdays, 7pm, at ODC in San Francisco. 

“Exploration of Forms” Public Movement Workshop: Afro Cuban Dance with José Francisco Barroso

TDPS presents a series of three spring workshops with Cuban dancer and choreographer José Francisco Barroso. These workshops focus on the explosive and subtle sacred expressions of the Orisha (Yoruba deities), as well as the dances of the Dahomey-Arará (Vodu, Gaga), and Congo (Palo, Makuta) regions. Barroso’s class offers students a strong understanding of polyrhythm and the kinesthetic distinctions of Afro-Cuban
traditional dances, rhythms, and movements. Join us for all three, or drop in for just one or two! The class is free, but cash donations for the drummers are welcome and encouraged.

ALL LEVELS WELCOME! LIVE DRUMMING! FREE!

10:30am-noon on three Sundays (drop in for one, or come to all)
January 28
February 18
March 18

UC Berkeley’s Bancroft Dance Studio
2401 Bancroft Way at Dana (entrance to studio on Dana)

See the poster: ExplorationForms_Spring2018

About José Francisco Barroso:
From a very young age, Havana-born José Francisco Barroso studied the Cuban dance styles of son, casino, rueda, and rumba. Barroso describes these art forms as an expression of everyday life in Cuba and as a symbol of the vibrancy of the Cuban people. He was recognized throughout Havana for his skills in hip-hop and break dance, and studied with Cuba’s Compania Folklorica Raices Profundas. As a director, choreographer, and teacher, Barroso has received numerous grants and awards, including the Isadora Duncan Dance Award, a California Arts Council Artist-In-Residence Grant, and ACTA’s Living Cultures Grant Program, and has held many residencies at universities. Barroso currently teaches a weekly class open to all levels on Tuesdays, 7pm, at ODC in San Francisco. 

 
 

Amateurism Across the Arts Conference

Hosted by the Arts Research Center at UC Berkeley, Amateurism Across the Arts is an exploration of vernacular, popular, fannish, kitsch, informal, self-taught, user-generated, and DIY production in music, architecture, literature, the visual arts, dance,  and new media– especially in relation to raced, classed, and gendered notions of value.  How do the implicitly skilled “arts” rupture and reorganize themselves around hierarchies of taste?  And how can critical race and feminist/queer scholarship account for “hobbyist” — that is, extra-institutional, self-organized, or improvised — modes of cultural production and circulation?  If amateurism has been traditionally disavowed in modernist and avant-garde historiographies, it is at the same time persistently—even obsessively—invoked, and is hence inextricably woven into those discourses.
 
The symposium asks how the “high” and the “low” are porous constructions by looking at the ways that these charged terms have been deployed and dismantled across several artistic disciplines, particularly as we examine the alternative economies and systems of distribution that attend such forms of making. While it has become commonplace for “fine” artists to recruit untrained participants into their practices, it is vital to acknowledge that many non-professional forms of making grow out of necessity and survival. In addition, though “amateur” is frequently used as a shorthand for the unpracticed and/or uninteresting, this conference seeks to understand its connections to its root word amare: a complex outgrowth of critical investment, pleasure, and love.
 

Schedule of Events

9:30am: Door Open to the Public

10:00: Welcome by ARC Director Julia Bryan-Wilson

10:20: Self-organized student hip-hop dance performance

10:30-12:30: Street Modernists: Urban Undoings of High and Low

“God is Beautiful and He Loves Beauty”
Talinn Grigor, Professor of Art History, University of California, Davis

“Modern and Vernacular—How Brazilian mid-century architecture problematizes this inherent contradiction”
Fernando Luiz Lara, Associate Professor, School of Architecture, University of Texas

Response by Greg Castillo, Associate Professor of Architecture, College of Environmental Design, UC Berkeley

12:30-1:30: Lunch Break

1:30-3:30: Self-Made: Cultural Production Outside of Industry

“Piracy and Fandom: DIY Media Distribution”
Abigail De Kosnik, Associate Professor, Berkeley Center for New Media and Department of Theater, Dance & Performance Studies, University of California, Berkeley

“Post-autonomous literature in Latin America: the radical art of poverty”
Cecilia Palmeiro, Professor, Contemporary Latin American Cultural Studies, NYU in Buenos Aires and National University of Tres de Febrero

Response by Natalia Brizuela, Associate Professor of Modern and Contemporary Latin American Literature & Culture, Spanish and Portuguese Department, UC Berkeley

3:30-3:40: Self-Taught Student Music Performance

3:45-5:45: Everyday Avant-Gardes and Non-Elite Evaluations

“Kenner und Liebhaber Revisited: ‘Advanced’ Music and Sound since 1950”
Benjamin Piekut, Associate Professor, Music, Cornell University

“Kaisik Wong: Extravagant Appropriation”
Marci Kwon, Assistant Professor, Art & Art History, Stanford University

Response by Stephanie Syjuco, Assistant Professor, Art Practice, UC Berkeley

5:45-6:15: Student DIY Couture Fashion Show, hosted by Derrick Duren (Arts + Design Student Committee)

6:15-7 Reception


Amateurism Across the Arts is an event hosted by the Arts Research Center at UC Berkeley, and co-sponsored in part by the Townsend Center for the Humanities, University of California Humanities Research Institute, Judith Butler’s Maxine Elliot Endowed Chair Funds, the Global Urban Humanities Initiative, and the Berkeley Center for New Media. Additional support is provided by Departments of MusicHistory of Art, Spanish and Portuguese, Theater, Dance, and Performance Studies, Critical Theory, the Center for Race & Gender, and the Center for New Music and Audio Technologies.

New Play Reading Series: “Left Unfini–” by toshi pau

Comedy, drama, romance, tragedy. Noise, silence, intimacy, enmity. Whatever you want, nothing you can have. Everything you need, maybe not what you want. A distant future… or perhaps a distant past? Follow the lives of three friends who go abroad to three different places, looking for something —anything— to keep their dreams alive. But what happens when dreams die? Join us for this reading of the new play “Left Unfini–,” and be sure to stay for a discussion with the playwright.

NOTES
Don’t dreams always seem to make sense, even when they don’t? Don’t you ever feel like you can do anything? Doesn’t it feel liberating? And yet, sometimes oppressive? How do we truly know when we are dreaming? When does it start? When does it end? Do I dream of being a butterfly? Or am I a mere butterfly dreaming of being human?

昔者莊周夢為胡蝶,栩栩然胡蝶也,自喻適志與。不知周也。俄然覺,則蘧蘧然周也。不知周之夢為胡蝶與,胡蝶之夢為周與。周與胡蝶,則必有分矣。此之謂物化。
⁃ Zhuangzi

AUTHOR BIO
toshi pau is a second year Ph.D. student in the Department of Theater, Dance, and Performance Studies at U.C. Berkeley, and a co-director of the New Play Reading Series for the 2017-2018 academic year. His interests as a new playwright revolve around the possibilities of language and non-language in theater, meaning and the absence/construction of context, and disturbing preconceived notions of reality.