STANFORD UNIVERSITY
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NEWSLETTERA NOTE
FROM
THE CHAIR
BY BRANISLAV JAKOVLIEVIC
This year, we are celebrating the frst cohort of
four undergraduate majors and minors who en-
tered the program after it had been renamed
from the Department of Orama to Department
of Theater and Performance Studes, Four years
‘ago, the facuity felt thatthe new name would
more accurately indicate the esearch, teaching
nd creative work that fs actually taking place
in the department that houses one ofthe top
fraduate programs in the fed of theater and
performance stuies in the US and beyond, Now
that we are promoting the fist generation of
stadents since the name change, it cleat more
than ever that the new name communicates not
only the transformation that took place aver the
ast few decades in the academic eld of theater
stale, but aso the change in the way in which
‘we study and make lve performances at Stan-
ford. Our undergraduate students are leaving the
rogram with an expansive idea of what theater
is and what it could become, and our graduate
Students ae entering the fel asa new crop of
performance generalists, equaly comfortable
Ascussng, researching, and teaching radional
Arama, performance art, dance, intercultural per-
formance, and other areas of Ive art
This breadth of interests reflected nour teach-
ing productions, and extracurricular activities
“This year. our faculty initiated a range of new
classes, trom Diana Looser's "Performance and
Migration’ to Jsha Menon’ “Transnational Sox-
uaies® to the new core graduate seminar on
Dramaturgy. The season opened with fox miner
forest. a theater and dance piece devised by our
araduate students Rebecca Chaleff and Rebecca
‘Ormiston, and performed in Fost Amphitheater.
Inthe Winter, Lese Fil and Helen Pars mount
ed a rarely seen production of Oh, What @ Lovely
Wor, an unerthodx musical devise by Joan Lit
tlewood and fst performed in her Theatre Work
shop in 1963. This work memoriazes the Great
‘War (1914-1918), but also paints to the unter
rupted current of violence that spans over the
Century that separates us fro tis epochal event
Reflecting on the experience of performing Oh
What @ Lovely War in Memorial Hal, 2 builing
that commemorates Stanford students and faculty
who took part in WAM), Madeline ine, 2 rising
‘setior and a ast member, invited us to “ght cs:
osablity fot lives] by standing ad peretuam for
those who struggle aganst violence, clssism and
‘the erasure that es inthe shadows of memoriam”
In this years Carl Weber lecture “Divas, Darings,
and Dames: Women in roadway Musicals ofthe
1960s" which took pace onthe set ofthis show,
the distinguished scholar of musial theater Sto
‘y Wolf fom Princeton University, reminded the
packed house of Pigott Theater about the amount
and intensity of seemingly efotless labor behind
the success of any great musical. The issues of
dlversty, identity, and knowledge came across
‘powerful in our graduate students’ winter pro
‘uctions: Karina Gutiertez The House an Mango
‘Steet, Thao Nguyeris WHITE POWER: A Comedy,
and Alex Johnson's The Duel. This year we had
‘one ofthe strongest Capstone Project offerings in
ecent memory: from an experimental staging of
‘Shakespeare's Macbeth (Andre Amaotico, Noemi
Berkowitz, Lev Jennings), to Tess Mecarhy's org
inal work Seeing Devin and Exc Eichelberger' Bot
tom Bald, to anal ferale cast n Cary Church
Top Gis in repertory with an all-male cast in Da
vid Mamets Glengarry Glen Ros (Elizabeth Kear,
‘Analyssa Lopez, Lous McWilams). Final, this
Spring ou department offered a superb produc
tion of Cherie Moraga's new play The Mathemat-
kes of love. We are concluding the season vith
the dance preduction Spatial Shit: Four Dances in
Four Stages, choreographed by ou acuity Diane
Frank, Alsta Hayes. Alex Ketley, and Robert Mo
ses. We offer special thanks to Robert, who has
served on our dance facuity ince 1994 a le
turerand Artist in Residence
‘This year was marked not only by the commen
‘ration of past events, but even more with a
ticipation of what is soon to come. This summer,
ater tvee years of renovations the department
‘will move Back Into Roble Gym. Stating in the
Fal, ourstudentswill dance gain in the big dance
studlo, and enter a new dance studo that was
bull next tot Next season, we wl perform ina
‘ew fenibe black box theater that replaced the
‘ld gyn, n accordance with this revitalization of
‘the old Roble Gyn, we selected 'New Worlds" 35.
‘the season theme for the year. This theme does
‘ot pertain ony tothe reconstructed facies,
but also the renewed way in which we want tO
support stusent theater on campus. We trans
formed the Nitery theater into a student-run
‘theater. TAPS undergraduate and graduate stu
dents onthe Managing Board of the Experimen
{al Nitery Studo wl build the season, schedule
performances and rehearsals and experience re
Sponsiblity and excitement of operating a heat
«And ioking further, beyond the yearin which
‘we celebrate the reopening of Robe Gym, we put
together the Artistic Vision Board charged ith
‘the dvesication of our season. These are only
ome ofthe iiatves that we started ths year
‘Cura to make TAPS a sate pace for our stu
dents to explore their creativity, ther Kents,
theiratste obsessions and scholarly curiosities,
and help them build confidence in ther art.5015-16 AT»STANFORD REPERTORY THEATER SUMMER 2015
Nol) 7.121 INASP 1) >) eral
SUMMER THEATER FESTIVAL
BY RUSH REHM,
Founded in 1997, Stanford Repertory Theater brings professional thea
eto the Stanford community year-round, presenting challenging plays in
3 fresh ively andinformed manner. We afford Stanford students the op
portunity to werk with theater professional in a meaningful colabore
ton involving design, performance, technial support, pully, summer
festival management nd administration, celebrating what the theater
and university ean bring tothe cultura ite ofthe community.
Sis 2015 summer festival (our 17th) celebrated the wor of Sir No
Coward. Playwright, actor, director, songwriter, painter, and novel
Coward emerged as a performing "Renaissance man” wo shaped im
portant aspects of Erish and American culture fromm 1920 - 1970,
‘Our main stage production, Hay Fever, directed by lynne Soffer, proved
i 2 cial and audience hit. Starring SRT company arst Courtney Walsh
‘as Judith Bs, the diva with a penchant fornon-teirement, the cat also
included AEA guest artist Deborah Fink (Myra Arundel} Richard Carton
(David Bis, Rush Rehm (Richard Greatham), Catharine Liedtke (Clara),
‘Austin Caldwell 15 (Simon Bliss, Kiki Bagger "15 (Sorel Bl), Andre
‘Amarotico 16 (Sandy Tyrell, and Kathleen Kelso "18 Uackle Coryto
‘With costumes by Connie Strayer and sets by Annie Dauber '13 (2014
‘TBArnominee for RT's Maby Dick - Reheorsed, Hay Fever received three
‘nominations from the Bay Area Critics Cice: Best Production, Costumes
(Connie Strayer, and Supporting Actres (Kathleen Kets).
Following Hay Fever, SRT presented our Coward Caboret,acomplation of
‘songs and repartee from the Coward treasure trove directed by Brendon
Martin 13, vith a cas including Dante Bellet 14, Samantha Willams
"17, Andre Amarotco "16, Ellen Woods "8, and pianist Makulumy Alex
ander Hils'1éSRT's Coward Festival also featured a free film se
Fies showeasing, Coward as director, screenwriter,
tnd actor. Films were intraduced by Stanford fe:
Uy including Peter Stansky (For Which We Serve,
‘oblas Wott (Our Man in Havana Willa Edelman
(Blithe Spi) Rush Rehm (Bunny Lakes Missing), SRT
fmographer Roselyn Halt (Private Lives), Stanford
graduate student Alex Johnson (Bef Encounter), and
San Fancio Chronicle film eric Mick LaSalle (Ca
lead
The festival also featured a community sympos-
um, No! Coward: Art, Style, and Decadence, with
4 splendid keynote address by Professor of English
‘Nichols Jenkins, lectures by TAPS Emeritus Pro
fessor Wiliam Eddelman and SRT Artistic Director
Rush Rehm, a winning workshop approach to det.
Ing Coward by Art Manke, and scenes from rarely
produced Coward plays, inluding Post-Mortem (a
cating crtaue ofthe “Great Wr) and Nude with
Violin (a delightful satire on the absurdities of the
modern art markt)
SRT received wonderful support from its many
Sponsors and campus partners, including the de
Dartments of TAPS, Muse, Art and Art History, nd
English the Divison of Literature, Ctr, and Lan
guages: Modern Thought and Literature: the Stan
ford: Humanities Center, Stanford Ars Insitute
the School of Humanities and Sclences, Most sig
nificantly Stanford Continuing Studies funded the
Symposium and fm series, andthe Vice Provost of
Undergraduate Education provided a research grant
that supported 13 Stanford undergraduates forthe
2O-week summer festhal, including TAPS students
lan Anstee 18, Analyssa Lopez "16 Lillan Bornsteln
18, Annabel Ostrow '18, Paty Kim Hamilton "16,
Brigite Witmer ‘16, Victor Spielberg Verde ‘15,
Andre Amarotico 16, Astin Caldwell 16, Kathleen
Kelso", and Kiki Bagger "15.ae 1A
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We began our Fal series with Professor Pegsy Phelan who delivered a lecture entited
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‘uarter ended vith graduate student Angrette McCloskey, who spake about her creative
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Winter presenter was Professor Matthew Smith, who shared work trom bis forthcoming
book Theatres of Sensation: 19th Century Neuroscence andthe Birth ofthe Modern Stoge
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‘Thao Nguyen shared insights about the creative processes behind thei respective produc
tions: The Huse on Mango Steet, The Duel, and WHITE POWER: A Comedy. In May, Professor
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Future Geographies of Oceanic Performance” presenting her new research an how ait
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increase in both number and diversity over the course ofthe year, and we hope to cary this
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Professor Diana Looser presents
‘(Disloppearing Islands: Climate Chong
and the Future Geographies of OceSETTING THE STAGE FOR ‘PIPELINE’
THIS ARTICLE ORIGINALLY APPEARED IN
UNDERGRAD ASSISTANTSHIP
BY NOEMI BERKOWITZ
Atthe end of October, assisted director Leah
Gardiner on Anna Deavere Smiths Potine
Project. In this one-woman show, Anna er
bles 19 diferent characters, mainly peo
ple whom she recently interivied
bout the school-to-prisanpipetine.
Noemi Berkowitz and Leah Gainer
From teachers to students to in
rates she tells the distinct story of
ache Alen Bullock, a protesto a
‘ested in Baltimore for voting after
the murder of Frese Gray. Arnold
Petkns, mentor, and Leticia Desa
tiago, mother, who both have trong,
‘opinions on bay pants. Judge Dan
ie Anders, who led wien he sen
‘enced a bay, someone who he be
lieved te system had failed
Photo
‘As we hear their stories, The Pipe: PG
line Project paints a picture of how
‘ur education and incarceration systems are
inextricably intertwined in the lives of fa
ies, educator, and administrators, We see
hhow disproportonately they punish people
lof color, something that remains true before
and ater the performance.
‘What struck me most about working on The
Pipeline Project was how immediate it fl. t
STANFORD LIVE'S “STUDENT VOICES"
was during our rehearsal process that the vdeo
‘of 3 police ofcer fling and dragging 2 black
irl in a classroom at Spring Valley High School
went viral. Since, we've seen protests at Yale
University and the University of Missour about
sterically racist incidents on our campuses.
‘nna has made anartistc career of creating con
‘vetsations around social justice through theater,
courtesy Noor Berkowitz
and in our current climate, this work fels vita
Itdoesnit ask ora suspension of bel, much
theater does, but rather a bli in-and an en
agement with-hard truths,
It was inspiring to work on this plece in are
hears room with so many accomplished and
talented women. Anna. Osavere. Smith, of
course, has been nominated for many awards
T
{for her one-woman shows, recently wining the
National Humanites Medal and giving the 2015
Jefferson Lecture. Jule Baldauf, the stage manag
«just ished work on the Tony Award-snning
Poin revival, one of her many Broadway credits.
‘And Leah Gardiner, the director, whe has won 20
‘Obie Award and worked in New York and across
the nation at regional. theaters,
showed me so much about strong
‘ection and leadership in a re
hearsal room, We only ha nine
ays, in which she fecused on
bringing all the detals and le
rments-lights and set transitions
and more-together to tell a co
herent dramaturgical story. Her
strength of vision and creativity
propelled this amazing work tothe
meaningful performance It was at
Bing Concert Hal,
‘We takabout using theater to cre
sate empathy, reflet society, com-
fort the disturbed, and distur the
comforted. The phrases are seemingly endless
‘The Ppeine Project's one of those shows that ac-
tually address some of the most serious matters
affecting our society today. fm grateful to have
gotten to work on this show with Incredibly t=
tented theater artists who use their work t tlle
about important issues. Il cary this experience
with me as I strive to imbue my future werk with
these qualities.MAIN SEASON PRODUCTION
BY BECKY CHALEFF
‘One thing that Becky and | always knew about fox minor frst was that
itwould be a site-specific pece. Another thing we always knev about fox
‘mor forest was that it would take place during and shorty after sunset
‘We knew that we needed an enormous space because we knew that we
needed to work both aver avast distance and in intimate proximity to the
Audlence. We aso knew that our demands for space were not going to be
‘easy to fulfill Lucky, we were granted access to Frost Amphitheater: the
rests history. There was simply no way to anticipate how spectacular the
space would look or how purely magical the piece would fel when the
wall came crashing down and the lights unveiled the field and foliage
Becky and | began working on fox miro forest log distance. She was In
California writing, and I was in New York choreographing. This structure
was not foreign to us: over the years, we have become accustomed to
‘working this way, exchanging letters that now document the closeness
‘of our separation. Indeed, the intimacy of distance became a central the
matic idea ofthe plece. Yet the distance we explored stretched not only
{cross space, but across ime. We explored memories, feelings ofthe past,
lives lost that stil seemed presen. skin that stretched across time and
stil, somehow. touched us. We exchanged videos of choreography and
‘excerpts of writing allowing each element of the plece to grow In tan
dem, influenced, but yet stil independent of ane another. We had time
and space to allow our many conversations about the piace to settle into
the movement and the written text, and We had faith that our esponses
‘through diferent mediums would inevitably appear cohesive together.
Becky tld me a great deal about the characters of the pay, and told her
a great deal about the characters ofthe dance. These are foxes, I would
5, but they cannot move just ke foxes: foxes ae too sneaky to appear
25 themselves. Inthe studio, my collaborator Kyle Gerry and would in
Drovise around ideas that Ihad drawn from te text: we would create long
Dhrases and slowly whittle them down into precise movements with dis
tinctive rhythmic patterns. We made solos for ourselves and duets with
each other We abstracted ourselves, created landscapes with our gestures
land steps Sometimes we made ourselves appear too large forthe space
‘we danced in; sometimes, we shrunk our movement to obscure ourselves
{tom interpretation. We developed small tual, detalles letmatis, steps
that belonged inthis fox world and no other.
Inperfemance, animated by Gretchen Jude's gorgeous, ghostly soundscape,
the foxes became ful formed. Up close, we became shadows~sometimes
austere, sometimes payfu-that textured Rosemary’ fantastical tries. In
‘he field, we bounded and leaped witha freedom limited only by our own
fendurance. Wii! improvsations became realzed thrush unprecicable
risks, soaring its, tender unisons, and precarious balances. Farther away,
we came closer o our alence filed the world ofthe pce more rabusty,
and stretched over the many spaces and times of fox mor foes.BY BECKY ORMISTON
‘There were also things that we did't know.
‘When 1 wrote fox miner frst, | decided to write to
Becky about my suring, as many artists who wish t0
‘eate something with abit of integrity ora least ith
‘some intensity often aim odo, Fearful that myreteling
‘would overwhelm the both a us, wrote a comedy.
Butby then no longer knew what was funny anymore.
Everything full of mith fet forced. Becky noted the
funny parts by writing haha next to the words that
Worked. Her marnalia comforted me:
Lauzhter was my buoy in rehearsal. twas the ony way
ould get through it sometimes I wont speak fr Becky.
I erote lines where, when | ead them, thought knew
‘what I wanted to cnvey, but when people said them
in the rehearsal room, |'no longer understood what
‘The people saying them did not understand either.
‘We considered viether to salvage these words, o give
upen them, orto persist and gure out away to recover.
Inrote sentences that people misunderstood, We ted
thelinterpreation more and we decided to proceed with
this renewed fath nthe performers cay n reading
In other words. learned to forget what we meant.
‘These were the moments where performers read nes
lke ribbons wrapped around presents
But then It would al take a rather macabre tun, and
the performers would present their work holding out
these ribbons, looking up and wondering what the ges
ture ofthat unraveling might say about them,
Orrather—
Iwate sentences for people who feared that the se
‘iment beneath what | wanted them fo say reflected
something unseting about my perception of them.
Part of the rehearsal process, then Involved a discus
Sion of character, and sel- deception, and how we in
‘ston pretending, nd son
Orrealy
Ihwrote words that made Becky laugh.
We said lines to people who were not there.
|hwote lines that | knew people would love to say.
‘We wrote wits forthe actors we thought we knew
Becky told me which words to Keep and these were
‘often the words that | wanted to hide from,
gave the words that frightened me tothe people who
oul say them instead,
(Ouractors gave us words when we had none
(Ouractors gave us better words.
For many of us, this play was apaimpsest.
We repeated these words to ane another inthe room.
‘We sid the words that we needed to recoverFOUR YEARS
OF FIELDWORK
COUN nS
eta
With the gracious support ofthe TAPS department, FileWeork has now been
running for four consecutve years, since its founding n 2012 by TAPS grad
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troup discusion on that months performance excursion,
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of operation, one new adjustment this year has proven particulary valuable
Peer eet as eter aes
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ounced show during winter and sping quarters. A streamlined nomination
and voting proces has resulted in an opportunity to see cutting-edge werk
this year, Doug Eacho nominated Taylor Mac's 24-Decade History of Popular
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the Samura, One particularly fruitful dscussion followed our attendance of
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i ecat eee eee eve acesUNDERGRADUATE FIELD TRIPS
UNDERGRADUATE INITIATIVE
This year, wth the generous support of Stanford
Ans, TAPS initiated a series of undergraduate
field trips to attend professional theater produc
tions around the Bay Area With trivng theater
Industry just off campus, the aim was to facitate
student increased exposure tothe high caliber
‘work of local professional theater. Al the logs
‘were taken care ofbyTAPS~productions selected
by Department Char Branisa akovhevie tickets
secured, transportation providedt0 make the
experiences as accessible as posible. We Wicked
ff the year with Rude Mechs The Method Gun at
‘pace, fllowed by The Cutting Ball Theater's
(Ondine, which featured several recent TAPS a:
tums. In Spring. students saw Berkeley Repertory
‘Theatre's production of Mocbeth and Crowded
Fie Theater’ Cll My Brohers. Tis new empha
sis on student engagement with local profesional
theater was widely considered to be a highlight
ofthe TAPS program this year, and we hape to
Continue these fel is indie.
Rude Mechs’ The Method Gun
Reflection by Meredith Charon 16
In Novernber 2015, ventured with the TAPS de
partment Into San Francisca to see Rude Mechs,
fan experimental performance group based in
‘Austin. TX perform ther original show The Meth
‘od Gun, The plot centered on a theater company
In the 19705 preparing to perform their bizare
rendition of A Steetcar Named Desi, aversion
inwhich Stanley, Stl, Blanche, and Mitch are
omitted, and only the minor characters speak
and appear on stage. The Method Gun takes the
audience through the ridiculousness of theater
Culture, and the cl-ke dependence that artists
have on ther instructors and traning. | am £0
tatefl thatthe TAPS department provided me
With the resources to see ths unique production,
and withthe opportunity to dscus the work in
length with TAPS faculty and stents,
‘The Cutting Ball Theater's Ondine
Reflection by Anayssa Lopez ‘16
"dont think many departments encourage youto
engage with what youTe earning in real fe the
‘way that TAPS does. Unable to attend the oxi
fal date set to see Ondine, expressed interest in
Secing the show a diferent date andthe fl tip
ate was changed-alowing me not only to see
the show but ta see itwitha TAPS cohort Watch
Ing Stanford alums involved inthis show (acting,
sistant directing. and production managing)
‘was unlike any opportunity Ive been afforded
in my undergraduate career. Here were people
"knew and loved, doing the thing | loved, pro
fessinaly! Even more rare was the opportunity
to discuss the show with some of my professor
and classmates atervard, ina restauront ar from
‘ampus, with no pressure of classes weighing on
1s youl told me that declaring my TAPS major
‘would mean geting the chance to see Amy Freed
‘order asilytooking frozen drink or Erik latino
{asking about plans fr postaraduation over a
Plate of pasta, don think would have believed
you. But fam so thanktlit di
Berkeley Repertory Theatre's Macbeth
Reflection by Noemi Berkowitz 16
Growing up in Nebraska, | dnt have many
chances to se large-scale professional theater
‘But in the Bay Area we have LORT theaters ike
Berkeley Rep, where we saw Macbeth featuring
Frances McDormand and Conleth Hil. To be
honest, many of us dit love the production.
‘The design was certainly Imposing and impres:
ive, with incredible sound and moving projec
tions and Game of Thronesesque set peces. But
itfelt ke the production rested on that, as wells.
the lures of ts leads, instead of cing deeper
into the language or paying with new and exit-
ing staging St there were many exiting things
te anaiyze and discuss onthe ride back with Levi
Jennings '16 and Eas Mooring ‘18. im grateful
‘or the opportunity to engage with this produc-
tion and professional By Are theater
Crowded Fire Theater's! Call My Brothers
Reflection by Noemi Berkowite'16
Dynamic, poetic. stereotype-busting. ensem-
ble-based, relevant, and funny, Crowded Fires
production of Jonas Hassen Kemi’ Call My
Brothers demonstrated the full extent of what
small-scale theater can accomplish. The story
23 day in the lite of Muslim-Amerian Amor after 3
«ar bombing in hs ty as he goes about his day
trying to exchange a dil. He tries to blend in,
engage, fd out what others think about him talk
to his dead grandmother and get over his ex ge
friend—the scenes brought to life by the talented
four-person east. Director Evren Odcikin com
bined precisely choregraphed staging and spoken
wort to create a riveting 90 minute production.
‘Atorwards, Brgite Witmer 16, Patty Hamil
ton ‘16, and | debated the ambiguity regarding
whether oF not there was @ chance that Amor
ras responsible for the car explosion. Was the
play just about paranoia, or also about the way
endless suspicion can change a person? Brigette
reflected, “it made me think about racial profi
ing trom the perspective of those who have been
targeted and wat happens when you question
Your own innocence. AS great theater does, this
production posed many questions ale us, the
fudience ying to puzzle out the answers? iUNDERGRADUATE CAPSTONE PROJECT
BY LIZ KNARR AND LOUIS MCWILLIAMS.
Choosing to tackle not on, but two plays for our senior project seems
‘more ambitious in retrospect than itd atthe ime. When we fist,
Started talking about doing our senior project together, David Ma
met’ Glengarry Glen Ross felt ke an obvious choiee. i was a show
that we bath had an attachment to, emotional and thematically, and
we knew Ie was a show that ators on campus would be excited about
being’ part ofA show about masculnty and self-worth in the bus
ress word, it seemed particularly relevant to us and tothe startup
‘utr and business drive that many Stanford students get caught up
intoday. But when we reazed that we could put thi shovrin conver.
sation with Cary Churchill Tp Girl, both plays took on entirely new
meaning. The juxtaposition ofa male-dominated business world with
that ofa female one brought up new explorations of gender roles in
the workplace, the balance between work and family and the difer
‘ent ways that people seek to prove themselves
‘Attempting to do beth ofthese shows justice required the talent and
‘edication of our entire cast and crew in many ways, as theater Is
wont to do, this project took over our lve. AS with mast student
theater, asthe show date comes closer, oles become les and less
defined, and everyone starts to-do every Job. From pulling props and
sathering costume pieces to organizing ticket reservations and build
ing the set every member ofthe cast and crew had their hand in mak
ing these shows come together. For us, that dedication and love was
the crx of this experience the Ite hours and sleepless nights were
the soul ofthis project, and without the unwavering dedication of
alof the amazing students we worked with nether ofthese shows,
would have been possibleStudent theater productions are labors of
love. They are not perfect. They lack acer
tain sheen, a production value that most
are used to when they step inside a dark
theater, Unlike the neay delineated roles
and uniform working hours that define the
professional worl, student productions
Ste fluid and unstructure, investments of
tine, courage, enery, and emotion, pro
‘cess raught with more fllre than success,
Emotions snap. Tables break Budgets bend
and flendships are formed and questioned
between people who share a passion and a
desire. On some days, we want to cll our
selves artist; others, we despise the term,
But atthe hear of the turmol lesa lve of
theater and 2 pursuit of something bigger
than ourselves Picasso i reputed to have
sd, "If they took my paints away, Fa use
pastels If they took my pastels away, I
te rayon, It they took my crayons away
1 use a pencil. I they stripped me naked
and stuck mein a cell a pit on my finger
and draw on the wal? Student theater can
often fel lke siting on your finger and
drawing on the wall itis Ue collaborative
passion and belief of a dedicated team
that caries the projects and relationships
to new heights and keeps us coming back
time and again, Because afterall whats
more fun than finger panting?GUEST VISIT & MASTERCLASS
BY AINE JOSEPHINE TYRRELL
ln November, TAPS had the privilege of welcoming performance ats Ste
Tare to Memorial Auditorium. Among Stlars better known works ae his
performances "THIRD HAND: with third robotic hand; EXOSKELETON:
‘vith 3 6lepged robot; “EAR ON ARM In sihich he had a cell-grown eat
Surgically Implanted on fs forearm: and for hs suspension series In which
he suspended his entire body via lage hooks inserted drecty into his skin
He is curenty a Distinguished Research Fellow and the Director of the
Alternate Anatomies Lb, School of Design and Art at Curtin University in
‘Australia, Stlare vas ivited to Stanford University as part of “Artin the
Digital Age” a serles co-hosted by the Office ofthe Associate Dean forthe
‘Advancement of the Ars, the Department of Art and Art History, Computer
Science, and TAPS. This initiative was very generously sponsored by the
Stanford Ars Institute so a f introduce Stanford students to the word's
most influential and innovative art practitioners,
Stelacs vis began witha public lecture entitled “Zombies, Humanaids and
Hybrids: The Creepy, the Uncanny, and the Contestable” and culminated
ina special workshop for Stanford TAPS graduate students and ft History
IMFAe. This second, more intimate event was called “Affect and the Body:
From Butoh to Performance Art The workshop wasn essence, an invest
ation into how being lve ciferent from alveness. Over the course of the
‘workshop tear guided us through a selection of videos and images of his
Favorite performance at works. Begining with Japanese Butoh, he vaced
| fascinating genealogy from Sumo wrestling though Yoko Ona and Marna
Abramovie to Marcell Antnee Roca. Our aiscussion ofthis media pro
Vided swith ameans of engaging with and understanding his view ofthe
human body 25 an alternate anatomical structure. Indeed, these mater
als became a fascnating context for understanding his experimentations
‘with avatars, suspensions, and body modification
‘The passion and energy with which Stelae spoke about the power of
‘technology was thoroughly aripping. He encouraged each of us to chal:
lenge and to question his werk throughout: each question we posed was
an opportunity fr him to elaborate upon his complex understanding of
the biological. Highlights of our discussion included, but were certainly
not mite to his provocative and fascinating personal anecdotes on the
‘experience of being suspended
‘Overall, Stlar’s etic insights into performance art were illuminating
forall of us who hope to pursue a career in academia anor the ats
‘today. Whether or not one agrees with his reconceptualization ofthe bi
‘logical body or whether ane can stomach his suspension performances,
the daring and vision of his research and work are truly inspiring. As an
artist and researcher, Stelarc seta phenomenal example forall he TAPS
“Students presen: he fan individual wo dares to push the boundaries of
the possible so a8 to re-envision the word around him, and, afterall nt
‘that what Art iallabout?| PREFACE: THE CREATIVE PROCESS |
NEW COMPANION SERIES
Under the direction of Chat Branislav Jak
foulevc, TAPS launched new production
companion series, "Preface: the Creative
Process” This ongoing series of events aims
1 provide TAPS faculty, students, and staff
with an in-depth, inside look atthe creative
processes behind our main stage produc
fons. The artiste and scholars leading each
Drodictlon present the aramatut=
Bical, artistic, and practical work
behind their nal product Sched
ed prior tothe performance run
Preface provides valuable context
{for TAPS audience members.
Graduate students Rebecca
Chalef and. Rebecca Ormiston
led Fall quarters inaugural Pre
ace on their production fox ior
forest. 2 ste-specite production
that took lace outdoors in Frost
“Amphitheater. This original work
Wwas co-created and co-directed
by both Beckys, written by Becky Ormiston,
and choreographed by Becky Chaleff. They
provided background on the conception of
the project a= well asthe unique and int
‘mate artistic process of building the perfor
‘mance. They shared hand-written eters they
‘mailed to each other wile writing and cho
‘eographing the piece, told anecdotes from
rehearsal that shaped the text and director:
al choices, and described some ofthe practical
logistics that went into producing a November
production in an eutdoor space rarely open to
theatcal events,
In the Winter, Professors Leslie Hill and Hel:
en Paris and graduate student Jessi Piggott
‘Shared the extensive research they conducted
in preparation forthe production Oh, What 2
Lovely Wer! Directed by Leslie and Helen with
cramaturgy by Jess, Lovely served as this years
‘Connie Strayer, Dane Frank, and
Erik Flatmo at Spatial Shit's Preface
Undergraduate Performance Project. The Pro
Ject-an Intensive and immersive experience
for undergraduate actors culminating in a main
stage performancerequies all cast members
to enrol in a companion academic course st
nts thus spend classroom hours investigat
Ing the shows scholars and dramaturgs, then
spend evening rehearsal hous on the practical
act of mounting the show. Over the course of
an hour, they not only chronicled the historca and
Socal context of Lovely and its orignal production
byloan itlewood and the Theatre Werkshop, but
ako detailed the current rehearsal process, which
Included workshops on Stanslavskl, Meyerhal,
and drag performance. Their presentation aso
featured snippets of songs from the show sung by
‘cast members Charlotte Dubach- Reinhold 29 and
Hannah Mile 19
Finally, we heard fom Dance lecturers Diane
Frank and Alta Hayes as represent
tives of this Spring's Spatial Shit: Four
DDancesin Four Sages. They spoke tothe
Inspiration behind thelr pieces and gave
Context to the dance elements of their
work. elaborating on haw they per:
Sonaly defined the concept of space,
fs well 2s their inivdual methods of
buildin choreography inspired by their
‘efntions In adaition, members ofthe
creative team descrbed their desien
process, including “Spring Charrette”
‘acer Natalie Sanchez "16: space con
sultant Jamie Lyons (Ph. 'O7) cos
fume designer Connie Strayer set de
signer Erik Flatmo: and lighting designer Stephen
Hitchcock '18. Cora Ciburn 19 and Mindy Phung
"12, dancers from "Branch, Tend Vine” aso per
forived an excerpt rom the piece.
Preface proved a wonderful companion to TAPS's
production season, ultimately enriching our expe:
Fence with each performance. We look forward to
Continuing Preface in future seasons.MACBETH
reek aor ad
BY NOEMI BERKOWITZ
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fors as spectators, and audiste members as popsicle sticks.
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laboration with a talented production team, designers, and
pore teen eee ee aT
technology throughout process and performance,
Fora play that focuses so much on the comuption af pow
Pere vomeernt rer nme er eens
Deer ee veer meee eee
chose to incorporate parts ofthe darkly funny, brutal, and
‘ass focused 1972 adaptation by Heiner Miller (ansated
Into English by TAPS Emeritus Profesor Cari Weber, The
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Cee en ee Le)Ly Lamboy, Ph.D candidate in Political Science, and more. Fra ofthe
eacitng experiments ofthe production, discovering the truth of these re
Tatonships was atthe heart of Macbeth
urexploration of gender came along with the creation of those relation
ships, Thanks to Michae’s closet (for some unknown reason, our entie
Cast seemed tf nto the clothes of a6 foot tall man) and costume de
signer Hope G. ¥i'27, we created a dark and androgynous militaristic look
forthe court. Femininity was ielevant forthe genderess thanes AE the
ame time, asthe ultimate constraint and vial for Lady Macbeth
When Macbeth decars,l’smen, woman, that this worl hasbeen made
by. and its only men who can shake it structure tothe core” he rlects
her an therefore cuts off her power, which remains tied thm. as in
portant for us to depict this inherent inequality in their lationship while
ko creating a production that celebrated and elevated many ofthe tl
ented female ators on Stanford's campus
The witches (Lev Jennings, Jannah Brady 26, and Colette Brannan
were crucain controling the design and creating the word ths Macbeth
“They became industrial technicians, manipulating objects and people pay
ing the murderers, and inctng violence onto smalscale puppet figures,
toys, and objects created bythe wonderful Nk Uleha, They manipulated
Thode! ofthe ene theater atthe end, audience members represented
by faces on the pope sticks they'd enoyed at intermission. The fantasti
Sound al projection design by TAPS lecturer Michael St. Cli were cuca
in creating and expanding that worl, and Levis work as master carpenter
allowed us to complete the homemade esthetic ofthe show.
In producing Macbeth, | wanted to find anew and intresting way to tell
2 familar story. Taking that chance ws risky, but created an extlarating
process that aways cose the excting option over the safe one. Inthe end
Budiences appreciated cur "pushing and creating limits” with’ callber of
Acting talent rarely seen in such high concentration on Stanford stages"
The Stanford Arts Review) and the “non-traditional sual stimulating
formance’ that “blr the line between reed and Violence” (Stanford
Daily. We could take many risks only because ofthe utter commitment
of Michael and the cast andl designer. fm arateful for Andre's and Lex
increible hard work and trust ae calaborators on 3 journey wise path
never stopped twisting in anew direction. As Michael Hunter put taking
2s witha group a ling and comand as ths s somehow nota risk
stall‘
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