RUBIN MUSEUM OF ART presents

BRAINWAVE it could change your mind

The Buddhist Dreamer

Sharon Salzberg + Lawrence Barsalou

Wednesday, April 13
7:00 PM   $20*
*includes admission to all museum exhibitions before the program.

Meditation teacher Sharon Salzberg explores mindfulness, meditation and the awake state with cognitive scientist Lawrence Barsalou.

Tickets
www.rmanyc.org/brainwave
212.620.5000 x344
RUBIN MUSEUM OF ART
150 WEST 17 STREET, NEW YORK CITY
The museum’s fourth annual exploration of the human mind investigates the relationship between dreams and prophecy.  Why do we dream?  What function does this ancillary brain activity serve?  Do dreams anticipate the future?  Brainwave will endeavor to answer these questions in a series of on-stage conversations between neuroscientists and people from many walks of life.  This series will be augmented by workshops, films, and performance pieces.  Participating this year are actor Debra Winger, standup Henry Rollins, musician Meredith Monk, painter David Salle, playwrights Frank McGuinness and John Patrick Shanley, puppeteer Roman Paska, British speculative fiction writer Graham Joyce, Tibetan teacher Lama Lhanag, meditation teacher Sharon Salzberg, and writers Siri Hustvedt, Scott Turow, Amy Tan and Nathan Englander.

YOUR TICKET INCLUDES ADMISSION TO THE MUSEUM GALLERIES

Brainwave 2011 is made possible by generous support from MetLife Foundation.

The media sponsor of Brainwave is The New York Times Community Affairs.

TReE is excited about this upcoming event at The University Settlement.

THE PERFORMANCE PROJECT @ UNIVERSITY SETTLEMENT’S MONDAY NIGHT SALON SERIES.

ADVOCATES OF THE IMMEASURABLE: Reflecting on the role of the Arts and the Imaginative Experience in Education. Monday 4/4 @7pm….FREE EVENT…and there will be wine!!

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

Invitation from ALISON FLEMINGER, Program Curator and Educator @ University Settlement

The Performance Project @ University Settlement http://www.universitysettlement.org  is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street. For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

TReE is excited about this upcoming event at The University Settlement.

THE PERFORMANCE PROJECT @ UNIVERSITY SETTLEMENT’S MONDAY NIGHT SALON SERIES.

ADVOCATES OF THE IMMEASURABLE: Reflecting on the role of the Arts and the Imaginative Experience in Education. Monday 4/4 @7pm….FREE EVENT…and there will be wine!!

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

Invitation from ALISON FLEMINGER, Program Curator and Educator @ University Settlement

The Performance Project @ University Settlement http://www.universitysettlement.org  is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street. For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

TReE is excited about this upcoming event at The University Settlement.

THE PERFORMANCE PROJECT @ UNIVERSITY SETTLEMENT’S MONDAY NIGHT SALON SERIES.

ADVOCATES OF THE IMMEASURABLE: Reflecting on the role of the Arts and the Imaginative Experience in Education. Monday 4/4 @7pm….FREE EVENT…and there will be wine!!

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

Invitation from ALISON FLEMINGER, Program Curator and Educator @ University Settlement

The Performance Project @ University Settlement http://www.universitysettlement.org  is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street. For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

TReE is excited about this upcoming event at The University Settlement.

THE PERFORMANCE PROJECT @ UNIVERSITY SETTLEMENT’S MONDAY NIGHT SALON SERIES.

ADVOCATES OF THE IMMEASURABLE: Reflecting on the role of the Arts and the Imaginative Experience in Education. Monday 4/4 @7pm….FREE EVENT…and there will be wine!!

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

Invitation from ALISON FLEMINGER, Program Curator and Educator @ University Settlement

The Performance Project @ University Settlement http://www.universitysettlement.org  is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street. For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

TReE is excited about this upcoming event at The University Settlement.

THE PERFORMANCE PROJECT @ UNIVERSITY SETTLEMENT’S MONDAY NIGHT SALON SERIES.

ADVOCATES OF THE IMMEASURABLE: Reflecting on the role of the Arts and the Imaginative Experience in Education. Monday 4/4 @7pm….FREE EVENT…and there will be wine!!

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

Invitation from ALISON FLEMINGER, Program Curator and Educator @ University Settlement

The Performance Project @ University Settlement http://www.universitysettlement.org  is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street. For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

TReE is excited about this upcoming event:

Monday Night Salon Series @ The Performance Project @ University Settlement http://www.universitysettlement.org

Advocates of the Immeasurable : Reflecting on the Role of the Arts and the Imaginative Experience in Education

April 4 at 7pm

This event is free and so is the wine.

When was the last time a group conversation restored your energy,  focus,  and sense of purpose?

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

If you wish to join us for this third conversation…

simply bring your own experience of wonder – and the importance of its unfolding throughout your life.

This program is presented the as part of The Performance Project @ University Settlement’s Monday Night Salon Series.

Made possible by a grant from the New York State Council on the Arts to The Touchstone Center.

The Performance Project @ University Settlement is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street.

For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

Please, pass event information along to other advocates of the Immeasurable.  Help us build our network of advocates.

Thanks and We look forward to seeing you.

Invitation from ALISON FLEMINGER

TReE is excited about this upcoming event:

Monday Night Salon Series @ The Performance Project @ University Settlement http://www.universitysettlement.org

Advocates of the Immeasurable : Reflecting on the Role of the Arts and the Imaginative Experience in Education

April 4 at 7pm

This event is free and so is the wine.

When was the last time a group conversation restored your energy,  focus,  and sense of purpose?

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

If you wish to join us for this third conversation…

simply bring your own experience of wonder – and the importance of its unfolding throughout your life.

This program is presented the as part of The Performance Project @ University Settlement’s Monday Night Salon Series.

Made possible by a grant from the New York State Council on the Arts to The Touchstone Center.

The Performance Project @ University Settlement is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street.

For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

Please, pass event information along to other advocates of the Immeasurable.  Help us build our network of advocates.

Thanks and We look forward to seeing you.

Invitation from ALISON FLEMINGER

TReE is excited about this upcoming event:

Monday Night Salon Series @ The Performance Project @ University Settlement http://www.universitysettlement.org

Advocates of the Immeasurable : Reflecting on the Role of the Arts and the Imaginative Experience in Education

April 4 at 7pm

This event is free and so is the wine.

When was the last time a group conversation restored your energy,  focus,  and sense of purpose?

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

If you wish to join us for this third conversation…

simply bring your own experience of wonder – and the importance of its unfolding throughout your life.

This program is presented the as part of The Performance Project @ University Settlement’s Monday Night Salon Series.

Made possible by a grant from the New York State Council on the Arts to The Touchstone Center.

The Performance Project @ University Settlement is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street.

For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

Please, pass event information along to other advocates of the Immeasurable.  Help us build our network of advocates.

Thanks and We look forward to seeing you.

Invitation from ALISON FLEMINGER

TReE is excited about this upcoming event:

Monday Night Salon Series @ The Performance Project @ University Settlement http://www.universitysettlement.org

Advocates of the Immeasurable : Reflecting on the Role of the Arts and the Imaginative Experience in Education

April 4 at 7pm

This event is free and so is the wine.

When was the last time a group conversation restored your energy,  focus,  and sense of purpose?

Please join us for our ongoing conversation with Richard Lewis, acclaimed poet and Director of The Touchstone Center for Children.  He has been working to preserve the instinctive imaginative capacities of childhood for more than 40 years.   Richard’s approach and poetic vocabulary awakens our relationship to the natural world, reconnects us to the true nature of childhood and guides us to reinvent what we mean by learning and believing.

We will continue our reflections on the birthright of wonder in childhood – and the ways, as teaching-artists, teachers and parents, we can support this quality of thought by asking new kinds of questions, as well as exploring new forms of expressive and imaginative possibilities.

If you wish to join us for this third conversation…

simply bring your own experience of wonder – and the importance of its unfolding throughout your life.

This program is presented the as part of The Performance Project @ University Settlement’s Monday Night Salon Series.

Made possible by a grant from the New York State Council on the Arts to The Touchstone Center.

The Performance Project @ University Settlement is located at the corner of Eldridge Street and Rivington Street. F to Second Avenue, B/D to Grand Street, J/M/Z to Essex Street.

For more information please call 212-453-4532 or e-mail afleminger@universitysettlement.org

Please, pass event information along to other advocates of the Immeasurable.  Help us build our network of advocates.

Thanks and We look forward to seeing you.

Invitation from ALISON FLEMINGER

TREe now has a Twitter account. When discussing social networking with a group of artists there are polarized reactions to the TWITTER, micro-blogging phenomena. The question always arises “Are people truly connecting thru social media networking?”  As a 30 year old woman who made it through college WITHOUT a computer or cell phone, I am here to say…. YES. I have truly connected to other artists, friends, and organizations through social media…especially since moving to NYC 8 yrs ago.  I came from a small town where everyone knows everyone’s business. When your a teenager you don’t want anyone to know your “business”, but before you know it your 30, a struggling NY actress, desperate for other artists to connect/collaberate with, and hungry to build an audience that knows all about your “BUSINESS”.  That is why I love and value social media networks like TWITTER, YOUTUBE, & FACEBOOK. I have made my own small town through the internet- built my own little city stock full of personalities: the perverted old man on the corner, the girl I always wanted to be like next door, and the kids who want to be like me at the middle school down the street.  NYC can be a looming, intimidating city for a 120lb gal when you don’t know anyone. Social Media helped me build a creative community. It’s a place where I have broken news, triggered support, cultivated artistic relationships, made money, and laughed my ass off at Charlie Sheen.  I agree that we all need more face time, not facebook. But I also believe social media HAS enriched my life and made me a more open/honest artist. The internet can make our world seem like a smaller town. I am grateful that you opened your laptop and clicked the link that brought you to this page right now. If you aren’t a social media networking guru- so what? Its not a “thing” to master. Its a tool that when used with positive action creates more positive action. So maybe we shouldn’t laugh our asses off at Charlie, but rather, follow theatre groups like @TREePlays and tap into the creative energy we are putting out.  We are going somewhere wonderful and would love for you to come with us. Follow us on Twitter.

http://www.twitter.com/treeplays

TREe now has a Twitter account. When discussing social networking with a group of artists there are polarized reactions to the TWITTER, micro-blogging phenomena. The question always arises “Are people truly connecting thru social media networking?”  As a 30 year old woman who made it through college WITHOUT a computer or cell phone, I am here to say…. YES. I have truly connected to other artists, friends, and organizations through social media…especially since moving to NYC 8 yrs ago.  I came from a small town where everyone knows everyone’s business. When your a teenager you don’t want anyone to know your “business”, but before you know it your 30, a struggling NY actress, desperate for other artists to connect/collaberate with, and hungry to build an audience that knows all about your “BUSINESS”.  That is why I love and value social media networks like TWITTER, YOUTUBE, & FACEBOOK. I have made my own small town through the internet- built my own little city stock full of personalities: the perverted old man on the corner, the girl I always wanted to be like next door, and the kids who want to be like me at the middle school down the street.  NYC can be a looming, intimidating city for a 120lb gal when you don’t know anyone. Social Media helped me build a creative community. It’s a place where I have broken news, triggered support, cultivated artistic relationships, made money, and laughed my ass off at Charlie Sheen.  I agree that we all need more face time, not facebook. But I also believe social media HAS enriched my life and made me a more open/honest artist. The internet can make our world seem like a smaller town. I am grateful that you opened your laptop and clicked the link that brought you to this page right now. If you aren’t a social media networking guru- so what? Its not a “thing” to master. Its a tool that when used with positive action creates more positive action. So maybe we shouldn’t laugh our asses off at Charlie, but rather, follow theatre groups like @TREePlays and tap into the creative energy we are putting out.  We are going somewhere wonderful and would love for you to come with us. Follow us on Twitter.

http://www.twitter.com/treeplays

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Director for the Interdependence Project and a co-creator of the Time Interchange of New York.

He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh taught an Arts and Meditation creative development workshop for the 2010 Scholastic Alliance for Young Artists & Writers National Award winners.

The Anthropologists invite you to attend our jam sessions, a space and time for artists to work on their craft, build skills, experiment with new techniques, and recharge artistic batteries.
No rehearsing, just doing.
No auditioning, just acting.
No mistakes, just opportunities.

NEXT SESSION: Tuesday, 3/8, 8-10PM
Space On White (81 White Street, btwn Broadway & Lafayette)

The Anthropologists invite you to attend our jam sessions, a space and time for artists to work on their craft, build skills, experiment with new techniques, and recharge artistic batteries.
No rehearsing, just doing.
No auditioning, just acting.
No mistakes, just opportunities.

NEXT SESSION: Tuesday, 3/8, 8-10PM
Space On White (81 White Street, btwn Broadway & Lafayette)

Help the Theatre Research Ensemble grow!

Help the Theatre Research Ensemble grow!

Help the Theatre Research Ensemble grow!

Help the Theatre Research Ensemble grow!

Help the Theatre Research Ensemble grow!

Help the Theatre Research Ensemble grow! Your donation is tax-deductible, and greatly appreciated.

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

The Anthropologists are casting three non-equity actors (2 male, 1 female) for their upcoming workshop production of ANOTHER PLACE, at HERE Arts Center, April 25-May 1.  Rehearsals will commence April 1, weekday evenings and weekend days, along with a script workshop March 24-26.   There is a small performance stipend offered.  A group audition will be held on Saturday, March 5, from 3:30-5:30PM.   If you would like to be considered, please send a headshot, resume & a brief statement of interest to casting@theanthropologists.org.

In 2007 a group of performers began a weekly practice of gathering to exchange skills and learn from each other’s creative gifts.

At first our meetings were simply collections of activities participants wanted to experience with a group’s support.  This seed led to a period focused on pairing the sonnets of Edna St. Vincent Millay with the teachings of Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

Soon we decided broaden our work through the interactions developed in the “The Reunion”.  By imagining ourselves as a yoga community who had disbanded after it’s guru had passed on, we were able to invite others into our group’s research as fellow “long-lost members”.

In the Spring of 2010 we introduced two new programs: the InterActs public meditation series and our popular play reading and potluck evenings.

In the Summer of 2010 TReE participants attended the Acting and Being workshop held by the Shantigar Foundation in Rowe, Massachusetts.  The session was led by Playwright and Shantigar founder Jean-Claude van Itallie, OBIE winning performer Rae C. Wright and Meditation for Actors teacher and performer Parlan McGaw.  Those who attended  developed new skills in the relationship between performance and meditation practices.

An apparent confluence of interests between TReE and Shantigar led van Itallie and Artistic Director Josh Adler to collaborate on updated stagings of InterviewMotel from the classic America Hurrah plays paired with a new work called The Mother’s Return. The Theatre Research Ensemble spent nearly two weeks rehearsing at the Shantigar center before returning to New York.  The production opened in October, 2010 at La MaMa ETC for a two week run in their club space.

We continue to branch out as our research into the personal and communal growth process now includes live performance projects, educational offerings and other mindfulness-based cultural events.

In 2007 a group of performers began a weekly practice of gathering to exchange skills and learn from each other’s creative gifts.

At first our meetings were simply collections of activities participants wanted to experience with a group’s support.  This seed led to a period focused on pairing the sonnets of Edna St. Vincent Millay with the teachings of Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

Soon we decided broaden our work through the interactions developed in the “The Reunion”.  By imagining ourselves as a yoga community who had disbanded after it’s guru had passed on, we were able to invite others into our group’s research as fellow “long-lost members”.

In the Spring of 2010 we introduced two new programs: the InterActs public meditation series and our popular play reading and potluck evenings.

In the Summer of 2010 TReE participants attended the Acting and Being workshop held by the Shantigar Foundation in Rowe, Massachusetts.  The session was led by Playwright and Shantigar founder Jean-Claude van Itallie, OBIE winning performer Rae C. Wright and Meditation for Actors teacher and performer Parlan McGaw.  Those who attended  developed new skills in the relationship between performance and meditation practices.

An apparent confluence of interests between TReE and Shantigar led van Itallie and Artistic Director Josh Adler to collaborate on updated stagings of InterviewMotel from the classic America Hurrah plays paired with a new work called The Mother’s Return. The Theatre Research Ensemble spent nearly two weeks rehearsing at the Shantigar center before returning to New York.  The production opened in October, 2010 at La MaMa ETC for a two week run in their club space.

We continue to branch out as our research into the personal and communal growth process now includes live performance projects, educational offerings and other mindfulness-based cultural events.

Praise for America Hurrah Revisited and The Mother’s Return:

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

… beautifully directed by Josh Adler.

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

Praise for America Hurrah Revisited and The Mother’s Return:

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

… beautifully directed by Josh Adler.

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

… beautifully directed by Josh Adler.

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–Glenda Frank, The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

…an evening of theatre that challenges and stimulates.

The Mother’s Return, a dream play,… is a new and quite ravishing work by van Itallie… The play, a stunning bit of stream-of-consciousness, is by turns poetic, touching, and absurd. Van Itallie remains an innovator, for it’s really not like anything I’ve ever seen.

…performed by an ensemble of eight actors who, happily, reflect the diversity of our city in terms of age as well as ethnicity—how welcome is that?

--Martin Denton, NYTheatre.com

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Praise for America Hurrah Revisited and The Mother’s Return:

… beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Praise for Theatre Research Ensemble:

“America Hurrah” (Revisited) and a new addition “The Mother’s Return, a dream play,” beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Press for Theatre Research Ensemble:

“America Hurrah” (Revisited) and a new addition “The Mother’s Return, a dream play,” beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Press for Theatre Research Ensemble:

“America Hurrah” (Revisited) and a new addition “The Mother’s Return, a dream play,” beautifully directed by Josh Adler.

“Interview”… is a little masterpiece, absolutely delightful and a revelation.

The young, talented, interracial cast is a joy to the eye and ear…

–The New York Theatre Wire

Press for Theatre Research Ensemble:

America Hurrah

|
return to entry page |
go to other departments |

Glenda Frank

AMERICA HURRAH

by Glenda Frank

In “Interview,” the first part of “America Hurrah,” applicants and interviewers in an employment agency are dehumanized. L-R: Noelle Neglia, Helen Nesteruk, Matthew Tischler, Autumn Horne, Cam Kornman, Randy Noojin. Photo by Jonathan Slaff.

The 1960s was a golden age for off off-Broadway theatre. Greenwich
Village–east and west–was alive with outbursts of creative joy and political
protest. Non-traditional spaces–bars, storefronts, basements, even living
rooms–hosted innovative dramas and performance styles that changes the
face of American theatre almost overnight. There were no barriers. Genres
blended. Jazz entered art galleries as well as poetry readings and dance.
And Ellen Stewart, LaMaMa, was in the forefront, enabling the visionaries
with performance space and sometimes loans. She was guided by an American
theatre tradition established in the beginning of the twentieth century
by George Cram Cook and Susan Glaspell at the Provincetown Playhouse: respect
for the gifted amateur who is guided by his passion. She believed that people
with something to say were the next wave, and Jean-Claude van Itallie was
one of her discoveries. For 10 days in Oct. LaMaMa welcomed a revival of
his much heralded piece “America Hurrah” (Revisited) and a new
addition “The Mother’s Return, a dream play,” beautifully directed
by Josh Adler, Artistic Director of Theatre Research Ensemble (TReE).

Do the pieces hold up 45 years later? Yes and no. “Interview,”
the first piece is a little masterpiece, absolutely delightful and a revelation.
The work seems tailor-made for our current economic climate. An applicant
arrives. There are several interviewers. One by one other job hunters enter:
a temp, an executive, a floor washer. And soon the stage is filled with
applicants and interviewers–eight in all–who repeat phrases, change places,
and reassemble in a variety of formations. Individuals emerge from the group
to share their experiences and traumas. One woman believes she died in a
recent car accident. Voices overlap in a symphony of responses and questions.
The interviewers check the applicants teeth, look for track marks. Even
if you haven’t interviewed in decades, you are there, identifying with the
hopes, the rising tensions, the indignities–all in a quickly shifting dramatic
landscape.

In “Motel,” puppets (in this production, tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world). Puppeteer, puppets and puppet stage: Alan Barnes Netherton. Photo by Jonathan Slaff.

“Motel,” a staple of theatre history textbooks,
is less successful, perhaps because it uses a diorama and small marionettes
(Alan Barnes Netherton, creator) to tell its story. A large backstage screen
has some projections, but they did not improve the aesthetic of the piece.
The story, however, is engaging. First a female puppet–who will later strip
to a red bra and slip, then a male arrives in the orange motel room. The
motel itself is a marionette, complete with a Vacancy sign. The owner ,
a voice over (Cam Kornman), tells us she has hand selected the furnishings.
She is very fussy, fastidious, and proud of her property, which the flesh-colored
marionettes trash after having sex. The metaphor is ambiguous, which is
part of its fascination. Audiences at the premiere, where the puppets were
grotesque and bloated, read the play as corporate America destroying the
little guy. It’s easy today to see the motel owner as the status quo and
to hear the static, out-of-space sounds she emits as what Schultz’s Charlie
Brown calls the “blah-blah-blah” of the adult world.

In its time, the play was a highly controversial and a watershed.
Norman Mailer called it “possibly the best one-act I’ve ever seen.”
“A massive Mother Hubbard [motel puppet], made of very clammy clay
revolves . . . like a warning beacon, welcoming the transient to a haven
filled with the books of John Galsworthy. . . ” wrote critic Walter
Kerr about the premiere. Directed by Tom O’Horgan (who also directed the
Broadway productions of “Hair” and “Jesus Christ Superstar”),
“Motel” (then called “America Hurrah”), toured Paris
and Copenhagen. In England and Australia special performances were held
to thwart the censors.

In “The Mother’s Return, a dream play,” seven New Yorkers who volunteer at a soup kitchen tell each other their dreams, political and personal. Cam Kornman and Matthew Tischler. Photo by Jonathan Slaff.

“The Mother’s Return, a dream play” is a new piece,
set in a soup kitchen. Sets and props are minimal. Once again we hear the
blended voices and individual stories emerges as in “Interview,”
only now they are more politicized. As the onstage actors serve the meal
and clean up afterwards — as they take care of the human community–they
share their laughter, dreams and stories. Some of the stories are fantastical,
some paranoid, some daily dramas. Constructed like music, the voices move
from solo to group, almost the way we hear conversations when we are busily
at work in a crowded room. The eponymous mother is a mythic figure representing
healing power.

The soup kitchen volunteers are the community’s guardians.
At the end of the play, they gather in Washington Square Park to enact a
healing celebration–almost an exorcism. It’s very ’60s. Together they create
a mandala, a sacred circle, and all the beautiful performers chant away
the evils of the world: irradiated food, extreme rendition, domestic abuse.
The young, talented, interracial cast is a joy to the eye and ear: Autumn
Horne, Lou Boretto, Noelle Neglia, Randy Noojin, Diana de Luna, Matthew
Tischler, Cam Korman, and Helen Nesteruk. You know that they–the soup kitchen
workers–can’t change a world run amok, but you can’t help believing that
their gestures of faith are a promise that goodness and sanity will prevail.
It’s good to know that Van Itallie still has that powerful mojo going.

| lobby
| search | home |
cue-to-cue | discounts |
welcome | film
| dance | reviews |

| museums | NYTW
mail | recordings | coupons |
publications | classified |

Press for Theatre Research Ensemble:

America Hurrah

|
return to entry page |
go to other departments |

Glenda Frank

AMERICA HURRAH

“America Hurrah” (Revisited) and “The Mother’s Return,
a dream play”

by Jean-Claude van Itallie.

Directed by Josh Adler. Performed by Theatre Research Ensemble (TReE).

Produced at La MaMan E.T.C. (The Club) 74A East Fourth St., NYC.

Oct. 15- 24, 2010. Tickets $18 at 212-475-7710 or www.lamama.org.

by Glenda Frank

In “Interview,” the first part of “America Hurrah,” applicants and interviewers in an employment agency are dehumanized. L-R: Noelle Neglia, Helen Nesteruk, Matthew Tischler, Autumn Horne, Cam Kornman, Randy Noojin. Photo by Jonathan Slaff.

The 1960s was a golden age for off off-Broadway theatre. Greenwich
Village–east and west–was alive with outbursts of creative joy and political
protest. Non-traditional spaces–bars, storefronts, basements, even living
rooms–hosted innovative dramas and performance styles that changes the
face of American theatre almost overnight. There were no barriers. Genres
blended. Jazz entered art galleries as well as poetry readings and dance.
And Ellen Stewart, LaMaMa, was in the forefront, enabling the visionaries
with performance space and sometimes loans. She was guided by an American
theatre tradition established in the beginning of the twentieth century
by George Cram Cook and Susan Glaspell at the Provincetown Playhouse: respect
for the gifted amateur who is guided by his passion. She believed that people
with something to say were the next wave, and Jean-Claude van Itallie was
one of her discoveries. For 10 days in Oct. LaMaMa welcomed a revival of
his much heralded piece “America Hurrah” (Revisited) and a new
addition “The Mother’s Return, a dream play,” beautifully directed
by Josh Adler, Artistic Director of Theatre Research Ensemble (TReE).

Do the pieces hold up 45 years later? Yes and no. “Interview,”
the first piece is a little masterpiece, absolutely delightful and a revelation.
The work seems tailor-made for our current economic climate. An applicant
arrives. There are several interviewers. One by one other job hunters enter:
a temp, an executive, a floor washer. And soon the stage is filled with
applicants and interviewers–eight in all–who repeat phrases, change places,
and reassemble in a variety of formations. Individuals emerge from the group
to share their experiences and traumas. One woman believes she died in a
recent car accident. Voices overlap in a symphony of responses and questions.
The interviewers check the applicants teeth, look for track marks. Even
if you haven’t interviewed in decades, you are there, identifying with the
hopes, the rising tensions, the indignities–all in a quickly shifting dramatic
landscape.

In “Motel,” puppets (in this production, tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world). Puppeteer, puppets and puppet stage: Alan Barnes Netherton. Photo by Jonathan Slaff.

“Motel,” a staple of theatre history textbooks,
is less successful, perhaps because it uses a diorama and small marionettes
(Alan Barnes Netherton, creator) to tell its story. A large backstage screen
has some projections, but they did not improve the aesthetic of the piece.
The story, however, is engaging. First a female puppet–who will later strip
to a red bra and slip, then a male arrives in the orange motel room. The
motel itself is a marionette, complete with a Vacancy sign. The owner ,
a voice over (Cam Kornman), tells us she has hand selected the furnishings.
She is very fussy, fastidious, and proud of her property, which the flesh-colored
marionettes trash after having sex. The metaphor is ambiguous, which is
part of its fascination. Audiences at the premiere, where the puppets were
grotesque and bloated, read the play as corporate America destroying the
little guy. It’s easy today to see the motel owner as the status quo and
to hear the static, out-of-space sounds she emits as what Schultz’s Charlie
Brown calls the “blah-blah-blah” of the adult world.

In its time, the play was a highly controversial and a watershed.
Norman Mailer called it “possibly the best one-act I’ve ever seen.”
“A massive Mother Hubbard [motel puppet], made of very clammy clay
revolves . . . like a warning beacon, welcoming the transient to a haven
filled with the books of John Galsworthy. . . ” wrote critic Walter
Kerr about the premiere. Directed by Tom O’Horgan (who also directed the
Broadway productions of “Hair” and “Jesus Christ Superstar”),
“Motel” (then called “America Hurrah”), toured Paris
and Copenhagen. In England and Australia special performances were held
to thwart the censors.

In “The Mother’s Return, a dream play,” seven New Yorkers who volunteer at a soup kitchen tell each other their dreams, political and personal. Cam Kornman and Matthew Tischler. Photo by Jonathan Slaff.

“The Mother’s Return, a dream play” is a new piece,
set in a soup kitchen. Sets and props are minimal. Once again we hear the
blended voices and individual stories emerges as in “Interview,”
only now they are more politicized. As the onstage actors serve the meal
and clean up afterwards — as they take care of the human community–they
share their laughter, dreams and stories. Some of the stories are fantastical,
some paranoid, some daily dramas. Constructed like music, the voices move
from solo to group, almost the way we hear conversations when we are busily
at work in a crowded room. The eponymous mother is a mythic figure representing
healing power.

The soup kitchen volunteers are the community’s guardians.
At the end of the play, they gather in Washington Square Park to enact a
healing celebration–almost an exorcism. It’s very ’60s. Together they create
a mandala, a sacred circle, and all the beautiful performers chant away
the evils of the world: irradiated food, extreme rendition, domestic abuse.
The young, talented, interracial cast is a joy to the eye and ear: Autumn
Horne, Lou Boretto, Noelle Neglia, Randy Noojin, Diana de Luna, Matthew
Tischler, Cam Korman, and Helen Nesteruk. You know that they–the soup kitchen
workers–can’t change a world run amok, but you can’t help believing that
their gestures of faith are a promise that goodness and sanity will prevail.
It’s good to know that Van Itallie still has that powerful mojo going.

| lobby
| search | home |
cue-to-cue | discounts |
welcome | film
| dance | reviews |

| museums | NYTW
mail | recordings | coupons |
publications | classified |

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

Making dreams our work is a practice which requires grounding in the deepest of sensations.  Jean-Claude has dedicated great efforts to introduce us to Emily Conrad’s technique for inviting spontaneous movement called Continuum.  He likens it to a free-form yoga that cultivates creativity through spiral-based movement of the limbs and spine, rather than the habitual planes of a person’s daily postures.  Continuum is said to harmonize the water in a body by relaxing tissue structures enough to allow a practitioner to follow inter-aquatic impulses within themselves and effectively open pathways that have been obstructed from stress-related stimuli.

In The Mother’s Return we have made this the basis for entering an altered state for performing dreams and other stories, such as memories from childhood.  The sensation is comforting, like floating in the womb.  As the ensemble has become accustomed to maintaining extended periods of suspended intention, their ability to “quantum leap” between different perspectives within a story (i.e., the dreamer, narrator, or supporting characters) has lead to surprising interpretations.  We are currently working on a scene that intercuts simultaneously between three dreams, and when the rhythm takes the implications of comingling dream worlds are mind-blowing as anyone might inceive.

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.

In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.

In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.  In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).

In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.

When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.

Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.

In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.

In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.  In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).

In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.

When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.

Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.

In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.

In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.  In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).

In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.

When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.

Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.
In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.
In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.
In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).
In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.
When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.
Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.
In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.
In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.
In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).
In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.
When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.
Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.
In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.
In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.
In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).
In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.
When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.
Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date.
In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.
In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.
In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).
In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.
When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.
Yours, Jean-Claude van Itallie

I’m so energized working with Theater Research Ensemble (TReE) and its director, Josh Adler — on revisiting my play from the sixties, America Hurrah, and staging my new play, The Mother’s Return, bringing America Hurrah up to date. In Mother’s Return, seven New Yorkers, ranging in age from from twenty-five to ninety, volunteer at a soup kitchen just south of Washington Square.  They tell each other their dreams, political and personal.  Their dreams reflect the tragic realities of today but also subtly foretell the dawning of the age of the Divine Feminine — when basic human values will be reinstated.

In Interview, the first part of America Hurrah, applicants and interviewers in an employment agency are dehumanized. One, the Girl at the Party, isn’t sure if she’s alive or dead.
In Motel the Interview applicants and interviewers watch helplessly as huge puppets (or tiny puppets projected on huge screens), like Big Corporations, trash and destroy a motel room (i.e. our world).
In 2009, though forced to live in the ruins of this constantly trashed world, the soup kitchen volunteers have a more hopeful outlook.    People in the employment agency were forced to be there.  The soup kitchen volunteers courageously acknowledge and explore their own dreams, their unconscious, however frightening.
When we acknowledge our own violent hidden feelings, those feelings can no longer operate as monsters in the world, cut off from us. In exploring our unconscious through our dreams, there is the hopeful possibility of The Mother’s Return.

Yours, Jean-Claude van Itallie

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return, a dream play

By Jean Claude van Itallie

Performed by TReE: Directed by Josh Adler
purchase tickets online

LaMaMa presents a collaboration between legendary playwright Jean-Claude van Itallie and the Theater Research Ensemble (TReE) under the direction of Josh Adler. “The Mother’s Return, a dream play,” is new, deriving from van Itallie’s political dreams. At LaMama we see it with Adler’s interpretation of excerpts from van Itallie’s landmark 1960s political play, “America Hurrah.”  Together, the new and old plays ask, “How can balance be restored to a culture in crisis?

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return, a dream play

By Jean Claude van Itallie

Performed by TReE: Directed by Josh Adler
purchase tickets online

LaMaMa presents a collaboration between legendary playwright Jean-Claude van Itallie and the Theater Research Ensemble (TReE) under the direction of Josh Adler. “The Mother’s Return, a dream play,” is new, deriving from van Itallie’s political dreams. At LaMama we see it with Adler’s interpretation of excerpts from van Itallie’s landmark 1960s political play, “America Hurrah.”  Together, the new and old plays ask, “How can balance be restored to a culture in crisis?

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and Mother’s Return

By Jean Claude van Itallie

Performed by TReE: Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and Mother’s Return

By Jean Claude van Itallie

Performed by TReE: Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and Mother’s Return

By Jean Claude van Itallie

Performed by TReE: Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and Mother’s Return

By Jean Claude van Itallie: Performed by TReE: Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)

By Jean Claude van Itallie

Performed by TReE

Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)
By Jean Claude van Itallie
Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)
By Jean Claude van Itallie
Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn*, Helen Nesteruk*, Cam Kornman*, Diana De Luna, Noelle Neglia, Randy Noojin*, Matthew Tischler and Lou Boretto.

*-courtesy of AEA

PURCHASE TICKETS

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)
By Jean Claude van Itallie
Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)
By Jean Claude van Itallie
Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.

Starting October 15th at La Mama ETC:

America Hurrah Revisited and The Mother’s Return (a work in progress)
By Jean Claude van Itallie
Directed by Josh Adler
purchase tickets online

La MaMa presents a collaboration between legendary playwright Jean Claude van Itallie and the Theatre Research Ensemble (TReE). Preview The Mother’s Return, a new work that devises its staging from over 30 years of van Itallie’s dreams, alongside excerpts from a revamped interpretation of the landmark political play America Hurrah. Together they ask, “How can balance be restored to a culture in crisis?”

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn, Helen Nesteruk, Elka Rodriguez, Diana De Luna, Noelle Neglia, Randy Noojin, JL Reed and Lou Boretto.

PURCHASE TICKETS

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM
PURCHASE TICKETS

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn, Helen Nesteruk, Elka Rodriguez, Diana De Luna, Noelle Neglia, Randy Noojin, JL Reed and Lou Boretto.

PURCHASE TICKETS

by Noelle Neglia

“All work and no play makes Jack a dull boy.” But what about so much play that it becomes  work? Have you ever spun around and around and around and around and around so much that you puked? Well, that’s kind of what happened to us in the peaceful forest of Western Massachusetts.

A rigorous work schedule combined with inadequate sleep caused a veritable upheaval here at Shantigar. First it began with confusion. Then it grew to frustration. Late night quibbles ensued igniting daytime squabbles. The drama left the page and snaked through these gentle environs. It exemplified less our yummy meditation practice and more so our putrid overfilled port-a-potties.

Like those potties that should have been emptied more often, the human psyche also needs to be cleaned out. Why wasn’t this happening, with all the creativity, singing and great humor? This still waits to be understood. I myself am recovering this morning, finally, on a much deserved break, and fitting the pieces together after the sudden and mighty crumble.

Perhaps life is imitating art? It’s a common mystical experience that happens to artists and laymen alike. A reading of Hedda Gabbler can breed feelings of embitterment as much as a few weeks with Bridget Jones’ Diary can cause compulsive martini drinking and chain smoking. America Hurrah is, after all, about what happens in a bold and mighty society when dishonesty and rage are not directly addressed. It is about a modern civil war masked by cushy antique quilts and lulled into a trance by a nice dose of dope and porn.

Currently, in this group playing with issues of homeland corruption, global malaise and human degradation, might it not stand to reason that we’d feel a bit uncomfortable too? A breeding ground for grunting might develop? People might get scared and run away?

I hope and pray that this IS indeed the case. Because that would mean the second act might ALSO manifest into reality. After all, in order for there to be a Mother’s Return, momma’s gotta take off first right?

But this is where we are now. The institution of the actor’s trailer has proved necessary. We are vulnerable, we are sensitive, we are naked on the mountain. Some snuggling and snoring will do everyone some good….

Sunday’s Sermon: In an effort to report the truth, gloves off, rose colored glasses-less, I have told you the basic themes of this week. In an effort to protect the innocent I have left out the goopey details of our heartbroken compost pile. I personally believe that there is no real truth when speaking in past tense anyway. There is only a story living in one’s own memory, colored by their feelings, their conditionings, and their reflexes. Details would only have hurt those involved anyhow, and my greatest prayer is for healing and reconciliation. Although I’m sure all you gossip mongers out there would have loved it – in time – hindsight will be a real pisser.

by Noelle Neglia

“All work and no play makes Jack a dull boy.” But what about so much play that it becomes  work? Have you ever spun around and around and around and around and around so much that you puked? Well, that’s kind of what happened to us in the peaceful forest of Western Massachusetts.

A rigorous work schedule combined with inadequate sleep caused a veritable upheaval here at Shantigar. First it began with confusion. Then it grew to frustration. Late night quibbles ensued igniting daytime squabbles. The drama left the page and snaked through these gentle environs. It exemplified less our yummy meditation practice and more so our putrid overfilled port-a-potties.

Like those potties that should have been emptied more often, the human psyche also needs to be cleaned out. Why wasn’t this happening, with all the creativity, singing and great humor? This still waits to be understood. I myself am recovering this morning, finally, on a much deserved break, and fitting the pieces together after the sudden and mighty crumble.

Perhaps life is imitating art? It’s a common mystical experience that happens to artists and laymen alike. A reading of Hedda Gabbler can breed feelings of embitterment as much as a few weeks with Bridget Jones’ Diary can cause compulsive martini drinking and chain smoking. America Hurrah is, after all, about what happens in a bold and mighty society when dishonesty and rage are not directly addressed. It is about a modern civil war masked by cushy antique quilts and lulled into a trance by a nice dose of dope and porn.

Currently, in this group playing with issues of homeland corruption, global malaise and human degradation, might it not stand to reason that we’d feel a bit uncomfortable too? A breeding ground for grunting might develop? People might get scared and run away?

I hope and pray that this IS indeed the case. Because that would mean the second act might ALSO manifest into reality. After all, in order for there to be a Mother’s Return, momma’s gotta take off first right?

But this is where we are now. The institution of the actor’s trailer has proved necessary. We are vulnerable, we are sensitive, we are naked on the mountain. Some snuggling and snoring will do everyone some good….

Sunday’s Sermon: In an effort to report the truth, gloves off, rose colored glasses-less, I have told you the basic themes of this week. In an effort to protect the innocent I have left out the goopey details of our heartbroken compost pile. I personally believe that there is no real truth when speaking in past tense anyway. There is only a story living in one’s own memory, colored by their feelings, their conditionings, and their reflexes. Details would only have hurt those involved anyhow, and my greatest prayer is for healing and reconciliation. Although I’m sure all you gossip mongers out there would have loved it – in time – hindsight will be a real pisser.

by Noelle Neglia

“All work and no play makes Jack a dull boy.” But what about so much play that it becomes  work? Have you ever spun around and around and around and around and around so much that you puked? Well, that’s kind of what happened to us in the peaceful forest of Western Massachusetts.

A rigorous work schedule combined with inadequate sleep caused a veritable upheaval here at Shantigar. First it began with confusion. Then it grew to frustration. Late night quibbles ensued igniting daytime squabbles. The drama left the page and snaked through these gentle environs. It exemplified less our yummy meditation practice and more so our putrid overfilled port-a-potties.

Like those potties that should have been emptied more often, the human psyche also needs to be cleaned out. Why wasn’t this happening, with all the creativity, singing and great humor? This still waits to be understood. I myself am recovering this morning, finally, on a much deserved break, and fitting the pieces together after the sudden and mighty crumble.

Perhaps life is imitating art? It’s a common mystical experience that happens to artists and laymen alike. A reading of Hedda Gabbler can breed feelings of embitterment as much as a few weeks with Bridget Jones’ Diary can cause compulsive martini drinking and chain smoking. America Hurrah is, after all, about what happens in a bold and mighty society when dishonesty and rage are not directly addressed. It is about a modern civil war masked by cushy antique quilts and lulled into a trance by a nice dose of dope and porn.

Currently, in this group playing with issues of homeland corruption, global malaise and human degradation, might it not stand to reason that we’d feel a bit uncomfortable too? A breeding ground for grunting might develop? People might get scared and run away?

I hope and pray that this IS indeed the case. Because that would mean the second act might ALSO manifest into reality. After all, in order for there to be a Mother’s Return, momma’s gotta take off first right?

But this is where we are now. The institution of the actor’s trailer has proved necessary. We are vulnerable, we are sensitive, we are naked on the mountain. Some snuggling and snoring will do everyone some good….

Sunday’s Sermon: In an effort to report the truth, gloves off, rose colored glasses-less, I have told you the basic themes of this week. In an effort to protect the innocent I have left out the goopey details of our heartbroken compost pile. I personally believe that there is no real truth when speaking in past tense anyway. There is only a story living in one’s own memory, colored by their feelings, their conditionings, and their reflexes. Details would only have hurt those involved anyhow, and my greatest prayer is for healing and reconciliation. Although I’m sure all you gossip mongers out there would have loved it – in time – hindsight will be a real pisser.

by Noelle Neglia

As I previously mentioned, it’s surreal here and feels like I’ve dreaming, however yesterday, I think I woke up. I’m not sure why, probably just the natural cycle of things playing games and teasing us repeatedly, as it does, but the climate just got a bit rougher up here. Abrasive, uncomfortable, confusing. It feels to me as if the looming reality has fallen through the closet door. We aren’t just up here for our own training and personal growth! We’re here to build a show and bring it back to the harshest critic in the world: New York.

Eeeeek! I feel cranky, and exhausted, and judging by the collective moans and increasingly large pots of coffee, think the feeling is mutual. Actually I can’t vouch for how others are feeling (although all the dream work we’re doing does give me a pretty juicy peek; we work with fresh ones every day) but I can tell ya it’s kinda like grey heavy weather – you know it’ll pass, but it sucks for now to be stuck in wet socks.

I just keep reminding myself to enjoy the rustling trees and the guidance of Jean Claude. I keep attempting to live each moment as if I’m gonna die in 10 minutes. I keep reminding myself that this show ain’t all about me, and the ultimate goal is something I can’t even fathom. Urrrrrgh. Need sleep. Need rest. Need a hug from my mommy…

by Noelle Neglia

As I previously mentioned, it’s surreal here and feels like I’ve dreaming, however yesterday, I think I woke up. I’m not sure why, probably just the natural cycle of things playing games and teasing us repeatedly, as it does, but the climate just got a bit rougher up here. Abrasive, uncomfortable, confusing. It feels to me as if the looming reality has fallen through the closet door. We aren’t just up here for our own training and personal growth! We’re here to build a show and bring it back to the harshest critic in the world: New York.

Eeeeek! I feel cranky, and exhausted, and judging by the collective moans and increasingly large pots of coffee, think the feeling is mutual. Actually I can’t vouch for how others are feeling (although all the dream work we’re doing does give me a pretty juicy peek; we work with fresh ones every day) but I can tell ya it’s kinda like grey heavy weather – you know it’ll pass, but it sucks for now to be stuck in wet socks.

I just keep reminding myself to enjoy the rustling trees and the guidance of Jean Claude. I keep attempting to live each moment as if I’m gonna die in 10 minutes. I keep reminding myself that this show ain’t all about me, and the ultimate goal is something I can’t even fathom. Urrrrrgh. Need sleep. Need rest. Need a hug from my mommy…

by Noelle Neglia

As I previously mentioned, it’s surreal here and feels like I’ve dreaming, however yesterday, I think I woke up. I’m not sure why, probably just the natural cycle of things playing games and teasing us repeatedly, as it does, but the climate just got a bit rougher up here. Abrasive, uncomfortable, confusing. It feels to me as if the looming reality has fallen through the closet door. We aren’t just up here for our own training and personal growth! We’re here to build a show and bring it back to the harshest critic in the world: New York.

Eeeeek! I feel cranky, and exhausted, and judging by the collective moans and increasingly large pots of coffee, think the feeling is mutual. Actually I can’t vouch for how others are feeling (although all the dream work we’re doing does give me a pretty juicy peek; we work with fresh ones every day) but I can tell ya it’s kinda like grey heavy weather – you know it’ll pass, but it sucks for now to be stuck in wet socks.

I just keep reminding myself to enjoy the rustling trees and the guidance of Jean Claude. I keep attempting to live each moment as if I’m gonna die in 10 minutes. I keep reminding myself that this show ain’t all about me, and the ultimate goal is something I can’t even fathom. Urrrrrgh. Need sleep. Need rest. Need a hug from my mommy…

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress.”

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn, Helen Nesteruk, Elka Rodriguez, Diana De Luna, Noelle Neglia, Randy Noojin, JL Reed and Lou Boretto.

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress” at Shantigar Retreat in Western Massachussets.

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn, Helen Nesteruk, Elka Rodriguez, Diana De Luna, Noelle Neglia, Randy Noojin, JL Reed and Lou Boretto.

October 15 to 24, 2010
La MaMa E.T.C. (The Club)
74A East Fourth Street
Presented by La MaMa E.T.C.
Fridays and Saturdays at 10:00 PM, Sundays at 5:30 PM

Join us from October 15 to 24, 2010, when Theatre Research Ensemble (TReE) will perform “America Hurrah Revisited & The Mother’s Return, a work in progress.” The evening is a re-envisioning of a portion of the famed trilogy together with a first staging of the new addition.Jean-Claude van Itallie (“The Tibetan Book of the Dead,” “The Cherry Orchard,” “The Serpent,” “Master and Margarita”) is writing “The Mother’s Return” as an addition to his seminal work of modern drama, the trilogy known as “America Hurrah.”

This past summer director Josh Adler and two of his Theater Research Ensemble actors, Helen Nesteruk and Noelle Neglia, took an “Acting and Being” workshop in Western Massachusetts at playwright Jean-Claude van Itallie’s Shantigar Foundation for Theater, Meditation and Healing. Van Itallie and Adler were inspired to collaborate on a new production from van Itallie’s legendary “America Hurrah” (to contain “Motel” and part of “Interview”) plus a new play of van Itallie’s, “The Mother’s Return,” based on van Itallie’s recent political dreams. As of this writing, Adler and his company, with van Itallie, are rehearsing “America Hurrah (Revisited)” and “The Mother’s Return, a Work in Progress” at Shantigar Retreat in Western Massachussets.

ABOUT THE PLAYS

“Motel” is an excursion into Theater of the Absurd.  Three giant colorfully styled doll-puppets, with actors inside, enact a scene in a motel on Route 66.  A landlady checks in a man and a blonde woman who might be straight out of “In Cold Blood.”  While the landlady recites 15 minutes of platitudes about hooked rugs, self-flushing toilets and other features of the motel,the couple scrawl graffiti on the walls and smash the place.  “Motel” was written in 1962, originally titled “America Hurrah,” and opened in 1965 under the direction of Michael Kahn. When it was subsequently presented in a trilogy of plays by Jean-Claude van Itallie, the three plays became collectively titled “America Hurrah” and the puppet play was renamed “Motel.”

“Interview” is an employment interview, treated in a satirical, stylized, mordantly comic way.  Four masked hiring executives interview a scrubwoman, a house painter, a banker and a lady’s maid.  While commonplace enough, suddenly the most innocent statements become foreboding.  The questioners are trying to destroy the dignity of the four clients while the latter fight for their self-respect.  The audience are thrust into awareness as the process exposes itself.  “Interview” was written circa 1964.  It premiered (under the title “Pavanne”) at La MaMa, directed by Peter Feldman.  As “Pavanne,” it was directed by Tom O’Horgan on National Educational Television as part of “3 From La Mama.”

“The Mother’s Return, a work in progress” is a dream shared with the audience.  Van Itallie explains,  “The title refers to the present dawning of the Age of Aquarius when we must welcome the Feminine as our new godhead.  In the present declining state of the world ruled by greedy corporations, with global warming, mass hunger, and the oppression of minorities especially women the Great Lady is our best hope.  She will teach us to raise children more lovingly.   When they come of age, they won’t be fundamentalists of any kind, they won’t wage wars, they won’t torture, oppress, or hate.  How may we know She’s coming?   We can perceive her in our dreams.”  He continues, “As we dream, we’re artists observing the world.  The dream is the dreamer’s way of seeing.  Each time I dream or write a play, I’m inventing a form.  A play is a way to get into the audience’s dream. How to stage dreams so the audience will recognize them as their own?   With rigorous attention not changing anything to make the dream more “real,” logical, or less painful.  Let the dream be the message.”

DIRECTOR

Josh Adler is Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York. He is a professional videographer, live events producer and an acting teacher.  He also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

PLAYWRIGHT

Jean-Claude van Itallie was born in Brussels in 1936, raised in Great Neck, Long Island, and graduated from Harvard University in 1958.  He was one of Ellen Stewart’s original “LaMaMa playwrights” and a principal playwright of Joe Chaikin’s Open Theater.  For that group, he wrote what has been called the classic ensemble play, “The Serpent.”

In the seventies, van Itallie wrote his frequently-produced new English versions of the four major plays of Chekhov (published by Applause Books as “Chekhov, the Major Plays).  “The Tibetan Book of the Dead” premiered at LaMaMa in 1983. His 1985 translation of Jean Genet’s “The Balcony” was produced by the American Repertory Theatre in Cambridge, Massachusetts. “The Traveler,” van Itallie’s play about an aphasic composer, premiered at the Mark Taper Forum in Los Angeles in 1987.  “Struck Dumb,” van Itallie’s monologue written with/for Joseph Chaikin, premiered at the Taper Too in Los Angeles in l988 and was presented by The American Place Theatre in New York City in 1991.

“Ancient Boys,” van Itallie’s play about a gay artist living with AIDS, premiered at LaMaMa Annex, February, 1991. His play “Master and Margarita,” adapted from Bulgakhov’s novel, was presented by Theatre for the New City, NYC, in May, 1993.  Among van Itallie’s other plays and translations are: “King of the United States,” “Bag Lady,” “The Doris Plays,” “The Hunter and the Bird,” “Medea” and “The Taming of Jacques.”

As a performer, van Itallie appeared in 1988 in Boulder, Colorado in “Flesh Chronicles,” conceived with choreographer Nancy Spanier. He appeared at the Art Bank in Shelburne Falls, Massachusetts in “Guys Dreamin’” in the fall of 1996. This largely autobiographical play, written by the three actors appearing in it, had its NY debut at LaMaMa in May, 1998.  Van Itallie’s one person autobiographical show, “War, Sex and Dreams,” began at the Art Bank in Shelburne Falls (with accompanist Steve Sweeting) and had its NY debut at La MaMa.

In 2004, van Itallie’s “Light” had its world premiere in Pasadena, California at the Theatre at Boston Court. His latest play, “Fear Itself, secrets of the White House,” premiered at Theater for the New City in 2006.

Van Itallie’s book on play writing, “The Playwright’s Workbook,” was published in 1997 by Applause Books, NYC.  He is also a painter of large black-on-white calligraphies and his exhibit, “Characters,” was at the Open Center Gallery in NYC in May, 1993.

Van Itallie has transformed the old farm in Western Massachusetts where he’s lived for decades into Shantigar Foundation for Theater, Meditation and Healing (www.Shantigar.org). He has taught play writing and performance at Princeton, NYU, Harvard, Yale School of Drama, Amherst, Columbia, University of Colorado, Boulder, Naropa Institute and many other colleges. He now teaches workshops in writing and creativity at Shantigar, in Los Angeles and in NYC.

CAST

The actors are Autumn Horn, Helen Nesteruk, Elka Rodriguez, Diana De Luna, Noelle Neglia, Randy Noojin, JL Reed and Lou Boretto.

by Josh Adler

Here’s some overheard conversation that we’ve been playing with to sharpen our listening skills and the ability to reproduce musicality from everyday speech.

Can you clean that up please?
Not a group hug!
It’s too late.
You’re butchering my grandma’s malapropism!
Who’s reading this book?
Mmmm… cream based.
Would somebody remind me about blogging?
There’s something going on in the girls’ bathroom.

These phrases are great resources for sound compositions as well as a fun way to recognize our community’s interactions.

by Josh Adler

Here’s some overheard conversation that we’ve been playing with to sharpen our listening skills and the ability to reproduce musicality from everyday speech.

Can you clean that up please?
Not a group hug!
It’s too late.
You’re butchering my grandma’s malapropism!
Who’s reading this book?
Mmmm… cream based.
Would somebody remind me about blogging?
There’s something going on in the girls’ bathroom.

These phrases are great resources for sound compositions as well as a fun way to recognize our community’s interactions.

by Josh Adler

Here’s some overheard conversation that we’ve been playing with to sharpen our listening skills and the ability to reproduce musicality from everyday speech.

Can you clean that up please?
Not a group hug!
It’s too late.
You’re butchering my grandma’s malapropism!
Who’s reading this book?
Mmmm… cream based.
Would somebody remind me about blogging?
There’s something going on in the girls’ bathroom.

These phrases are great resources for sound compositions as well as a fun way to recognize our community’s interactions.

by Noelle Neglia

If we were on TV this would be categorized as a sur-reality show.
    
After our day off shopping trip I had a strange experience. I went walking in the fields and had one of those quasi nirvana/quasi mushroom trip moments. You know the kind where you’re feeling one with the grass and the clouds? You know that one right? Well whatever, I do.
    
Anyway singing to the hills, sound of music style, alone, I wander into Jean Claude’s enormous country-luxe home. I see the laundry, folded on a wooden bench. I think, “oh, they’re back with the laundry!” I walk up the stairs, see Elka and exclaim, “you’re back!” She squints and says, “whaaa?” Suddenly, it all becomes clearer. WE were the ones who did the laundry, Elka and myself, and the boys. It’s the other girls who are still out shopping at Costco. Dear god I am so out of it, and haven’t even touched an intoxicant in months!!!
    
That, my friends, is the vibe here. We’re getting ourselves into the minds and bodies of dreamers; learning the language of the subconscious. We spend our days (and afternoons and nights) doing exercises where we magnetize trees, babble through repetitious and carnivalesque renditions of Chekhov, and embody sea creatures. Jean Claude leads us in Continuum warm ups where we spiral in delirious, slow, fetal-like contortions on the floor. One time, coming out of a Continuum warmup I said apologetically, shaking my head vigorously, “Excuse me, I just need a sec to remind myself who I am and where…” Jean Claude smiled at me and said,”That’s ok, you don’t have to.”
    
The truth is, I hooked up with TReE because I knew this would be a unique experimental experience. I am pleased to report it has been savory, moving, and deliciously out of the ordinary. The kinda thing kind that would make an onlooker totally weirded out, but kinda jealous too.

While on our day off trip to the honor system payment style raw dairy farm, Jean Claude asked, “Noelle, would you like some goat cheese?” to which she replied, hands clenched, bent in a crouch “can you feed it to me? I’ve been petting a cow.”

by Noelle Neglia

I have a phobia of using other people’s money. Asking people for it has always made me tight in the clavicle. Even when my mom says to me, sweetly with trepidation and concern, chin lowered, eyes narrowed, “little honey, do you need any money to get you through? Some groceries perhaps?” As tempting as it is to take the cash (and/or Whole Foods spree) and run, I just won’t. So it was a perfect challenge and opportunity for growth when Josh Adler and Steve Ryan asked if I would be in charge of planning the TReE fundraiser party…with no budget. That’s right folks, we began this bold project with about $150 in the bank.
 
The time was upon us to call on everyone we knew who was connected to food, booze, event planning and music. We thought outside the box too (with gracious council from indie film producer Marissa Viola, of Elliot Loves) and called upon friends and family for service and material donations. These products were later translated into prizes given away at the party, and an auction held at the peak of the night! (I was gonna be damned if I asked people to give us their money and didn’t give ‘em a hellava good time – teeth grinding flashback to that previously mentioned phobia.)
     
It took hours of emails, phone calls and door to door smiles, not to mention prayers and meditation for re-grounding, recharging, reminding and rewinding, to get what we needed. And we did! We got exactly what we needed. The perfect amount of equipage for the guests and the perfect amount of cash from their hearts. Not much more, but most importantly no less. As one TReE member put it, “we are operating under the mandate of heaven.”
    
I like this type of balance. Some might think that wealth IS health, but I’ll stick with the old adage that “anything over a handful is wasted.”
    
And, my dear friends and neighbors, the wave of amplitude and grace continues. Just this afternoon, on a grocery trip to the local co-op and farmers market, while ringing up at the checkout stand, the total came to the exact dollar amount that we had in our pockets! That which we had previously allotted to spend on this day, that modest budget which we could not go over, WAS the total. We even had 35 cents to spare! Yeeeeha!
    
I don’t know exactly why or what to believe, but I feel, in my throbbing and beaming heart, that all this hard work is leading to something much bigger than TReE; to someplace where it can do the most good; to someone who needs it the most. So thank you, thank you. From the tips of my toes to the top of my soul…

by Autumn Horne

The days are long at Shantigar, and the livin’ ain’t always easy.  But there’s something oddly satisfying about building a relationship (and I mean the kind of relationship where we’re carrying yesterday’s near total stranger through panic attacks and breakdowns, cooking each other dinner in a shed with no running water, and where clean drinking water comes from giant gas cans) with other actors/artists/humans (and one giant white dog with uncanny healing powers, named Juno, who Jean-Claude’s dream told him was Woodrow Wilson, and whom I am POSITIVE is actually Ulysses S. Grant, but he prefers Mr. President.  Just to keep the confusion at bay.  Oh, there’s also a black dog…What’s-His-Name.  We like him a lot too, but he’s off tending to more important things than us most of the time.).  We rehearse 9 hours a day.  And we move for 81/2 of them.  Writhing, jumping, emoting…I know, it sounds all actor-y and obscure, and I guess it is, but we’re goin’ somewhere people!  I hope that you all will go there with us when the time is right. 

Anyway, I’m ahead of myself.  Which can’t be helped, as I’m exhausted and it’s 2:01am (which I know because I currently have a brief moment of COMPUTER TIME where the internet SORT OF WORKS.  Our cellphones don’t.  We have a landline, which is actually a great luxury, but we really don’t have much time to use it.)  Our days are about 14 hours long in total, not counting the fact that I get up at 6:30am to take a run and keep the demons at bay.  Almost all 14 hours are spent together.  I spent the first and second days of our twenty days here having a panic attack.  Not all day.  But a good portion of each was taken up by some SERIOUS freaking out.  I couldn’t handle something about the work…trust issues maybe?  AND (I know, I’m not supposed to be using “and” but it’s 2:08 now.) I was having trouble connecting what we were doing to where we are going.  My brain rebelled.  It also rebelled against the idea that we were here for some sort of “healing.”  “I don’t need to heal,” I thought, “I need to do THEATRE!”  I need to create this piece!  I need structure!  But why do they have to be mutually exclusive?  I can’t believe I’m even asking that, it’s so unlike me.  Because I could probably tell you a million reason why I think they should be mutually exclusive.  But what does that matter?  I am here!  I already gave in!  Why not just flow?  Why do I greedily hold onto my pain like it’s a badge of honor?  I even show it off; “Ha!  Let me tell you this horrible thing that happened to me!  Top that!”  What is  that?  There’s an element of sadomasochism in that, yes, but there is, more importantly, a wall that forms, sneakily, very sneakily, and can block connections to other people (acting is connecting, right?), to the other wonderful and totally insane people that came here with me, to Josh, to Jean-Claude, to the Earth, which is really sort of my god, goddess, whatever you want to call that hippie connection shit.  That’s right, I said it.

Yes, we all bitch.  Of course we do.  I think it’s good.  Things don’t stay inside and fester.  It can be annoying.  So what?  There will be conflicts.  That’s cool.  Look at me being all accepting and shit!  And I’ll go a step further…I love the people I’m here with.  It’s 2:23am on September 4th, and I love them.  And even if we have to wash dishes in a bucket of dirty water, I still love them.  And even when I want  to get the hell out of here because I’m having another panic attack, I STILL love them.  Maybe more so then, because I’m the most frustrating thing at Shantigar (I announce proudly in the midst of all this Zen-ny goodness ), and they seem to still love me!

I think I just arrived.  I guess that’s my point.  I’m ready.  It scares the crap out of me. 

It’s 2:40am.

Let’s do this thing.

PS…I’m still not into this Buddhist way of meditation.  But I think my style has been accepted.  We’ll see.

The days are long at Shantigar, and the livin’ ain’t always easy.  But there’s something oddly satisfying about building a relationship (and I mean the kind of relationship where we’re carrying yesterday’s near total stranger through panic attacks and breakdowns, cooking each other dinner in a shed with no running water, and where clean drinking water comes from giant gas cans) with other actors/artists/humans (and one giant white dog with uncanny healing powers, named Juno, who Jean-Claude’s dream told him was Woodrow Wilson, and whom I am POSITIVE is actually Ulysses S. Grant, but he prefers Mr. President.  Just to keep the confusion at bay.  Oh, there’s also a black dog…What’s-His-Name.  We like him a lot too, but he’s off tending to more important things than us most of the time.).  We rehearse 9 hours a day.  And we move for 81/2 of them.  Writhing, jumping, emoting…I know, it sounds all actor-y and obscure, and I guess it is, but we’re goin’ somewhere people!  I hope that you all will go there with us when the time is right. 

Anyway, I’m ahead of myself.  Which can’t be helped, as I’m exhausted and it’s 2:01am (which I know because I currently have a brief moment of COMPUTER TIME where the internet SORT OF WORKS.  Our cellphones don’t.  We have a landline, which is actually a great luxury, but we really don’t have much time to use it.)  Our days are about 14 hours long in total, not counting the fact that I get up at 6:30am to take a run and keep the demons at bay.  Almost all 14 hours are spent together.  I spent the first and second days of our twenty days here having a panic attack.  Not all day.  But a good portion of each was taken up by some SERIOUS freaking out.  I couldn’t handle something about the work…trust issues maybe?  AND (I know, I’m not supposed to be using “and” but it’s 2:08 now.) I was having trouble connecting what we were doing to where we are going.  My brain rebelled.  It also rebelled against the idea that we were here for some sort of “healing.”  “I don’t need to heal,” I thought, “I need to do THEATRE!”  I need to create this piece!  I need structure!  But why do they have to be mutually exclusive?  I can’t believe I’m even asking that, it’s so unlike me.  Because I could probably tell you a million reason why I think they should be mutually exclusive.  But what does that matter?  I am here!  I already gave in!  Why not just flow?  Why do I greedily hold onto my pain like it’s a badge of honor?  I even show it off; “Ha!  Let me tell you this horrible thing that happened to me!  Top that!”  What is  that?  There’s an element of sadomasochism in that, yes, but there is, more importantly, a wall that forms, sneakily, very sneakily, and can block connections to other people (acting is connecting, right?), to the other wonderful and totally insane people that came here with me, to Josh, to Jean-Claude, to the Earth, which is really sort of my god, goddess, whatever you want to call that hippie connection shit.  That’s right, I said it.

Yes, we all bitch.  Of course we do.  I think it’s good.  Things don’t stay inside and fester.  It can be annoying.  So what?  There will be conflicts.  That’s cool.  Look at me being all accepting and shit!  And I’ll go a step further…I love the people I’m here with.  It’s 2:23am on September 4th, and I love them.  And even if we have to wash dishes in a bucket of dirty water, I still love them.  And even when I want  to get the hell out of here because I’m having another panic attack, I STILL love them.  Maybe more so then, because I’m the most frustrating thing at Shantigar (I announce proudly in the midst of all this Zen-ny goodness ), and they seem to still love me!

I think I just arrived.  I guess that’s my point.  I’m ready.  It scares the crap out of me. 

It’s 2:40am.

Let’s do this thing.

PS…I’m still not into this Buddhist way of meditation.  But I think my style has been accepted.  We’ll see.

The days are long at Shantigar, and the livin’ ain’t always easy.  But there’s something oddly satisfying about building a relationship (and I mean the kind of relationship where we’re carrying yesterday’s near total stranger through panic attacks and breakdowns, cooking each other dinner in a shed with no running water, and where clean drinking water comes from giant gas cans) with other actors/artists/humans (and one giant white dog with uncanny healing powers, named Juno, who Jean-Claude’s dream told him was Woodrow Wilson, and whom I am POSITIVE is actually Ulysses S. Grant, but he prefers Mr. President.  Just to keep the confusion at bay.  Oh, there’s also a black dog…What’s-His-Name.  We like him a lot too, but he’s off tending to more important things than us most of the time.).  We rehearse 9 hours a day.  And we move for 81/2 of them.  Writhing, jumping, emoting…I know, it sounds all actor-y and obscure, and I guess it is, but we’re goin’ somewhere people!  I hope that you all will go there with us when the time is right. 

Anyway, I’m ahead of myself.  Which can’t be helped, as I’m exhausted and it’s 2:01am (which I know because I currently have a brief moment of COMPUTER TIME where the internet SORT OF WORKS.  Our cellphones don’t.  We have a landline, which is actually a great luxury, but we really don’t have much time to use it.)  Our days are about 14 hours long in total, not counting the fact that I get up at 6:30am to take a run and keep the demons at bay.  Almost all 14 hours are spent together.  I spent the first and second days of our twenty days here having a panic attack.  Not all day.  But a good portion of each was taken up by some SERIOUS freaking out.  I couldn’t handle something about the work…trust issues maybe?  AND (I know, I’m not supposed to be using “and” but it’s 2:08 now.) I was having trouble connecting what we were doing to where we are going.  My brain rebelled.  It also rebelled against the idea that we were here for some sort of “healing.”  “I don’t need to heal,” I thought, “I need to do THEATRE!”  I need to create this piece!  I need structure!  But why do they have to be mutually exclusive?  I can’t believe I’m even asking that, it’s so unlike me.  Because I could probably tell you a million reason why I think they should be mutually exclusive.  But what does that matter?  I am here!  I already gave in!  Why not just flow?  Why do I greedily hold onto my pain like it’s a badge of honor?  I even show it off; “Ha!  Let me tell you this horrible thing that happened to me!  Top that!”  What is  that?  There’s an element of sadomasochism in that, yes, but there is, more importantly, a wall that forms, sneakily, very sneakily, and can block connections to other people (acting is connecting, right?), to the other wonderful and totally insane people that came here with me, to Josh, to Jean-Claude, to the Earth, which is really sort of my god, goddess, whatever you want to call that hippie connection shit.  That’s right, I said it.

Yes, we all bitch.  Of course we do.  I think it’s good.  Things don’t stay inside and fester.  It can be annoying.  So what?  There will be conflicts.  That’s cool.  Look at me being all accepting and shit!  And I’ll go a step further…I love the people I’m here with.  It’s 2:23am on September 4th, and I love them.  And even if we have to wash dishes in a bucket of dirty water, I still love them.  And even when I want  to get the hell out of here because I’m having another panic attack, I STILL love them.  Maybe more so then, because I’m the most frustrating thing at Shantigar (I announce proudly in the midst of all this Zen-ny goodness ), and they seem to still love me!

I think I just arrived.  I guess that’s my point.  I’m ready.  It scares the crap out of me. 

It’s 2:40am.

Let’s do this thing.

PS…I’m still not into this Buddhist way of meditation.  But I think my style has been accepted.  We’ll see.

by Autumn Horne

We were sitting around in Helen’s room last night, and somehow the conversation landed on drugs.  Don’t judge us.  Then it meandered to mushrooms.  And I’m not talking shiitake (wokka wokka!  These are the jokes, folks!  Sorry.).  I’ve never experienced anything like that, but one of those who had said she read up on the experience beforehand so she would know what to expect because the worst thing is a bad trip.  Something about just riding through it…it was late…

The upshot is, the other day, during one of my regularly scheduled panic attacks, I saw Jean-Claude.  For god knows what reason, I thought I’d tell him I was freaking out.  I asked for advice on acclimating to this new place and this new way of doing things that we’re creating together, and he said, “just think of it like one big trip.”

Ooooookaaaaay.  I thought he was just being flip.  Which is a fine response to someone you don’t really know sitting in your home, pale-faced and wild-eyed, suddenly telling you they’re breaking down because of play practice.  BUT!  I woke up this morning, several days later, and I had to write this down!  Because—even though I’ve never “tripped” per se, I can understand the concept of riding the feelings out, letting them flow through, knowing this feeling is not forever…there are good feelings coming!  And more bad, but you can’t clamp down and control it, you have to float on top of it like that really salty, fluffy sea foam on the crest of a wave, and ride it to shore.  Metaphors, anyone?

What a ride it can be.

by Autumn Horne

We were sitting around in Helen’s
room last night, and somehow the conversation landed on drugs.  Don’t judge us.  Then it meandered to mushrooms.  And I’m not talking shiitake (wokka
wokka!  These are the jokes, folks!  Sorry.). 
I’ve never experienced anything like that, but one of those who had said
she read up on the experience beforehand so she would know what to expect because the
worst thing is a bad trip.  Something
about just riding through it…it was late…

The upshot is, the other day,
during one of my regularly scheduled panic attacks, I saw Jean-Claude.  For god knows what reason, I thought I’d tell
him I was freaking out.  I asked for
advice on acclimating to this new place and this new way of doing things that
we’re creating together, and he said, “just think of it like one big trip.”

Ooooookaaaaay.  I thought he was just being flip.  Which is a fine response to someone you don’t
really know sitting in your home, pale-faced and wild-eyed, suddenly telling
you they’re breaking down because of play practice.  BUT!  I
woke up this morning, several days later, and I had to write this down!  Because—even though I’ve never “tripped” per
se, I can understand the concept of riding the feelings out, letting them flow
through, knowing this feeling is not forever…there are good feelings
coming!  And more bad, but you can’t
clamp down and control it, you have to float on top of it like that really
salty, fluffy sea foam on the crest of a wave, and ride it to shore.  Metaphors, anyone?

What a ride it can be.

by Autumn Horne

We were sitting around in Helen’s
room last night, and somehow the conversation landed on drugs.  Don’t judge us.  Then it meandered to mushrooms.  And I’m not talking shiitake (wokka
wokka!  These are the jokes, folks!  Sorry.). 
I’ve never experienced anything like that, but one of those who had said
she read up on the experience beforehand so she would know what to expect because the
worst thing is a bad trip.  Something
about just riding through it…it was late…

The upshot is, the other day,
during one of my regularly scheduled panic attacks, I saw Jean-Claude.  For god knows what reason, I thought I’d tell
him I was freaking out.  I asked for
advice on acclimating to this new place and this new way of doing things that
we’re creating together, and he said, “just think of it like one big trip.”

Ooooookaaaaay.  I thought he was just being flip.  Which is a fine response to someone you don’t
really know sitting in your home, pale-faced and wild-eyed, suddenly telling
you they’re breaking down because of play practice.  BUT!  I
woke up this morning, several days later, and I had to write this down!  Because—even though I’ve never “tripped” per
se, I can understand the concept of riding the feelings out, letting them flow
through, knowing this feeling is not forever…there are good feelings
coming!  And more bad, but you can’t
clamp down and control it, you have to float on top of it like that really
salty, fluffy sea foam on the crest of a wave, and ride it to shore.  Metaphors, anyone?

What a ride it can be.

Josh Adler asked the TReE ensemble a potent question during one rehearsal of America Hurrah:  In which death place am I?  They answered with:

Cozy and waiting
Poisoned at the bottom
Floating in a blue sky

Limbo

Just nothing
Tangled in a fisherman’s net
Unaccomplished on a reef
Forgotten

by Autumn Horne

The days are long at Shantigar, and the livin’ ain’t always easy.  But
there’s something oddly satisfying about building a relationship (and I
mean the kind of relationship where we’re carrying yesterday’s near
total stranger through panic attacks and breakdowns, cooking each other
dinner in a shed with no running water, and where clean drinking water
comes from giant gas cans) with other actors/artists/humans (and one
giant white dog with uncanny healing powers, named Juno, who
Jean-Claude’s dream told him was Woodrow Wilson, and whom I am POSITIVE
is actually Ulysses S. Grant, but he prefers Mr. President.  Just to
keep the confusion at bay.  Oh, there’s also a black
dog…What’s-His-Name.  We like him a lot too, but he’s off tending to
more important things than us most of the time.) We rehearse 9 hours a
day.  And we move for 8 and 1/2 of them.  Writhing, jumping, emoting…I
know, it sounds all actor-y and obscure, and I guess it is, but we’re
goin’ somewhere people!  I hope that you all will go there with us when
the time is right.  

Anyway, I’m ahead of myself.  Which can’t be helped, as
I’m exhausted and it’s 2:01am (which I know because I currently have
a brief moment of COMPUTER TIME where the internet SORT OF WORKS. Our
cellphones don’t.  We have a landline, which is actually a great luxury,
but we really don’t have much time to use it.)  Our days are about 14
hours long in total, not counting the fact that I get up at 6:30am to
take a run and keep the demons at bay.  Almost all 14 hours are spent
together.  I spent the first and second days of our twenty days
here having a panic attack.  Not all day.  But a good portion of each
was taken up by some SERIOUS freaking out.  I couldn’t handle something
about the work…trust issues maybe?  AND (I know, I’m not supposed to
be using “and” but it’s 2:08 now.) I was having trouble connecting what
we were doing to where we are going.  My brain rebelled.  It also
rebelled against the idea that we were here for some sort of “healing.”
 ”I don’t need to heal,” I thought, “I need to do THEATRE!”  I need to
create this piece!  I need structure!  But why do they have to be
mutually exclusive?  I can’t believe I’m even asking that, it’s so
unlike me.  Because I could probably tell you a million reasons why I
think they should be mutually exclusive.  But what does that matter?  I
am here!  I already gave in!  Why not just flow?  Why do I greedily hold
onto my pain like it’s a badge of honor?  I even show it off; “Ha!  Let
me tell you this horrible thing that happened to me!  Top that!”  What
is that?  There’s an element of sadomasochism in that, yes, but there
is, more importantly, a wall that forms, sneakily, very sneakily, and
can block connections to other people (acting is connecting, right?), to
the other wonderful and totally insane people that came here with me,
to Josh, to Jean-Claude, to the Earth, which is really sort of my god,
goddess, whatever you want to call that hippie connection shit.  That’s
right, I said it.

Yes, we all bitch.  Of course we do.  I think it’s
good.  Things don’t stay inside and fester.  It can be annoying.  So
what?  There will be conflicts.  That’s cool.  Look at me being all
accepting and shit!  And I’ll go a step further…I love the people I’m
here with.  It’s 2:23am on September 4th, and I love them.  And even if
we have to wash dishes in a bucket of dirty water, I still love them.
 And even when I want  to get the hell out of here because I’m having
another panic attack, I STILL love them.  Maybe more so then, because
I’m the most frustrating thing at Shantigar (I announce proudly in the
midst of all this Zen-ny goodness ), and they seem to still love me!

by Autumn Horne

The days are long at Shantigar, and the livin’ ain’t always easy.  But
there’s something oddly satisfying about building a relationship (and I
mean the kind of relationship where we’re carrying yesterday’s near
total stranger through panic attacks and breakdowns, cooking each other
dinner in a shed with no running water, and where clean drinking water
comes from giant gas cans) with other actors/artists/humans (and one
giant white dog with uncanny healing powers, named Juno, who
Jean-Claude’s dream told him was Woodrow Wilson, and whom I am POSITIVE
is actually Ulysses S. Grant, but he prefers Mr. President.  Just to
keep the confusion at bay.  Oh, there’s also a black
dog…What’s-His-Name.  We like him a lot too, but he’s off tending to
more important things than us most of the time.) We rehearse 9 hours a
day.  And we move for 8 and 1/2 of them.  Writhing, jumping, emoting…I
know, it sounds all actor-y and obscure, and I guess it is, but we’re
goin’ somewhere people!  I hope that you all will go there with us when
the time is right.  

Anyway, I’m ahead of myself.  Which can’t be helped, as
I’m exhausted and it’s 2:01am (which I know because I currently have
a brief moment of COMPUTER TIME where the internet SORT OF WORKS. Our
cellphones don’t.  We have a landline, which is actually a great luxury,
but we really don’t have much time to use it.)  Our days are about 14
hours long in total, not counting the fact that I get up at 6:30am to
take a run and keep the demons at bay.  Almost all 14 hours are spent
together.  I spent the first and second days of our twenty days
here having a panic attack.  Not all day.  But a good portion of each
was taken up by some SERIOUS freaking out.  I couldn’t handle something
about the work…trust issues maybe?  AND (I know, I’m not supposed to
be using “and” but it’s 2:08 now.) I was having trouble connecting what
we were doing to where we are going.  My brain rebelled.  It also
rebelled against the idea that we were here for some sort of “healing.”
 ”I don’t need to heal,” I thought, “I need to do THEATRE!”  I need to
create this piece!  I need structure!  But why do they have to be
mutually exclusive?  I can’t believe I’m even asking that, it’s so
unlike me.  Because I could probably tell you a million reasons why I
think they should be mutually exclusive.  But what does that matter?  I
am here!  I already gave in!  Why not just flow?  Why do I greedily hold
onto my pain like it’s a badge of honor?  I even show it off; “Ha!  Let
me tell you this horrible thing that happened to me!  Top that!”  What
is that?  There’s an element of sadomasochism in that, yes, but there
is, more importantly, a wall that forms, sneakily, very sneakily, and
can block connections to other people (acting is connecting, right?), to
the other wonderful and totally insane people that came here with me,
to Josh, to Jean-Claude, to the Earth, which is really sort of my god,
goddess, whatever you want to call that hippie connection shit.  That’s
right, I said it.

Yes, we all bitch.  Of course we do.  I think it’s
good.  Things don’t stay inside and fester.  It can be annoying.  So
what?  There will be conflicts.  That’s cool.  Look at me being all
accepting and shit!  And I’ll go a step further…I love the people I’m
here with.  It’s 2:23am on September 4th, and I love them.  And even if
we have to wash dishes in a bucket of dirty water, I still love them.
 And even when I want  to get the hell out of here because I’m having
another panic attack, I STILL love them.  Maybe more so then, because
I’m the most frustrating thing at Shantigar (I announce proudly in the
midst of all this Zen-ny goodness ), and they seem to still love me!

by Josh Adler

In which death place am I?

Cozy and waiting
Poisoned at the bottom
Floating in a blue sky

Limbo

Just nothing
Tangled in a fisherman’s net
Unaccomplished on a reef
Forgotten

by Josh Adler

In which death place am I?

Cozy and waiting
Poisoned at the bottom
Floating in a blue sky

Limbo

Just nothing
Tangled in a fisherman’s net
Unaccomplished on a reef
Forgotten

by Josh Adler

In which death place am I?

Cozy and waiting
Poisoned at the bottom
Floating in a blue sky

Limbo

Just nothing
Tangled in a fisherman’s net
Unaccomplished on a reef
Forgotten

by Josh Adler

In which death place am I?

Cozy and waiting
Poisoned at the bottom
Floating in a blue sky

Limbo

Just nothing
Tangled in a fisherman’s net
Unaccomplished on a reef
Forgotten

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

Donate to TReE! Help the Theatre Research Ensemble grow! We are dedicated to building a more mindful and sustainable culture through the arts. We are currently fundraising for our upcoming collaboration with legendary playwright Jean-Claude van Itallie, which will be performed at La Mama ETC in October 2010. Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE! When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

{CALENDAR}

by Lila Weingast

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

The Theatre Research Ensemble, or TReE, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  Welcome to our site!

by Autumn Horne

We had our first cast meeting for van Itallie’s America Hurrah/Mother’s Return  last night, and I have to be honest…I was nervous.  I am still nervous.  The prospect of going to a strange place to work on a strange play is scary…it can be exhilarating too, but to bring it back to a writing exercise we did last night, one has to want to destroy…to destroy what?  Expectation?  Those barriers that keep some of us from connecting with others?  Fear.  Worry.  Past experiences.  It’s difficult for some of us.  Really, really difficult.  I have, of late, been envious (did I say “envious”?  Gotta destroy that too!) of people who can jump in to an experience (read: opportunity) with no plan and no worry.  I think I used to be able to do that, but things pile up inside (all that negative stuff that happens, that you lament, that makes you say to yourself, why does this always happen to me??) and sometimes the pressure becomes so great, so (melodramatically) soul crushing, that it seems easier to just do nothing.  Don’t take the chance, that way nothing can go wrong!, something in your head whispers to you.  This is the same voice that we, as actors, had to overcome to become, well, ACTORS.  One of my favorite geeky actor quotes is from Tom Stoppard’s Rosencrantz and Guildenstern are Dead, “We’re actors, we’re the opposite of people.”  (Also, “You can’t not be in a boat.” “I’ve frequently not been in boats.” “No, what you’ve been is not in boats,” but that’s completely off the subject.)  It’s true, and our willingness, as actors, to expose ourselves, to lay ourselves open before strangers where others would close up and hide away is one of the wonderful traits that makes us artists, risk takers (remember all those silly acting exercises?  Ask someone who’s not an actor to explore their space with their elbow in front of a crowd.  They probably won’t do it.), and what can make us free, if we let it.  The trick is to LET IT.  I’m working on it.

by Autumn Horne

We had our first cast meeting for van Itallie’s America Hurrah/Mother’s Return  last night, and I have to be honest…I was nervous.  I am still nervous.  The prospect of going to a strange place to work on a strange play is scary…it can be exhilarating too, but to bring it back to a writing exercise we did last night, one has to want to destroy…to destroy what?  Expectation?  Those barriers that keep some of us from connecting with others?  Fear.  Worry.  Past experiences.  It’s difficult for some of us.  Really, really difficult.  I have, of late, been envious (did I say “envious”?  Gotta destroy that too!) of people who can jump in to an experience (read: opportunity) with no plan and no worry.  I think I used to be able to do that, but things pile up inside (all that negative stuff that happens, that you lament, that makes you say to yourself, why does this always happen to me??) and sometimes the pressure becomes so great, so (melodramatically) soul crushing, that it seems easier to just do nothing.  Don’t take the chance, that way nothing can go wrong!, something in your head whispers to you.  This is the same voice that we, as actors, had to overcome to become, well, ACTORS.  One of my favorite geeky actor quotes is from Tom Stoppard’s Rosencrantz and Guildenstern are Dead, “We’re actors, we’re the opposite of people.”  (Also, “You can’t not be in a boat.” “I’ve frequently not been in boats.” “No, what you’ve been is not in boats,” but that’s completely off the subject.)  It’s true, and our willingness, as actors, to expose ourselves, to lay ourselves open before strangers where others would close up and hide away is one of the wonderful traits that makes us artists, risk takers (remember all those silly acting exercises?  Ask someone who’s not an actor to explore their space with their elbow in front of a crowd.  They probably won’t do it.), and what can make us free, if we let it.  The trick is to LET IT.  I’m working on it.

by Autumn Horne

We had our first cast meeting for van Itallie’s America Hurrah/Mother’s Return  last night, and I have to be honest…I was nervous.  I am still nervous.  The prospect of going to a strange place to work on a strange play is scary…it can be exhilarating too, but to bring it back to a writing exercise we did last night, one has to want to destroy…to destroy what?  Expectation?  Those barriers that keep some of us from connecting with others?  Fear.  Worry.  Past experiences.  It’s difficult for some of us.  Really, really difficult.  I have, of late, been envious (did I say “envious”?  Gotta destroy that too!) of people who can jump in to an experience (read: opportunity) with no plan and no worry.  I think I used to be able to do that, but things pile up inside (all that negative stuff that happens, that you lament, that makes you say to yourself, why does this always happen to me??) and sometimes the pressure becomes so great, so (melodramatically) soul crushing, that it seems easier to just do nothing.  Don’t take the chance, that way nothing can go wrong!, something in your head whispers to you.  This is the same voice that we, as actors, had to overcome to become, well, ACTORS.  One of my favorite geeky actor quotes is from Tom Stoppard’s Rosencrantz and Guildenstern are Dead, “We’re actors, we’re the opposite of people.”  (Also, “You can’t not be in a boat.” “I’ve frequently not been in boats.” “No, what you’ve been is not in boats,” but that’s completely off the subject.)  It’s true, and our willingness, as actors, to expose ourselves, to lay ourselves open before strangers where others would close up and hide away is one of the wonderful traits that makes us artists, risk takers (remember all those silly acting exercises?  Ask someone who’s not an actor to explore their space with their elbow in front of a crowd.  They probably won’t do it.), and what can make us free, if we let it.  The trick is to LET IT.  I’m working on it.

by Autumn Horne

We had our first cast meeting for van Itallie’s America Hurrah/Mother’s Return  last night, and I have to be honest…I was nervous.  I am still nervous.  The prospect of going to a strange place to work on a strange play is scary…it can be exhilarating too, but to bring it back to a writing exercise we did last night, one has to want to destroy…to destroy what?  Expectation?  Those barriers that keep some of us from connecting with others?  Fear.  Worry.  Past experiences.  It’s difficult for some of us.  Really, really difficult.  I have, of late, been envious (did I say “envious”?  Gotta destroy that too!) of people who can jump in to an experience (read: opportunity) with no plan and no worry.  I think I used to be able to do that, but things pile up inside (all that negative stuff that happens, that you lament, that makes you say to yourself, why does this always happen to me??) and sometimes the pressure becomes so great, so (melodramatically) soul crushing, that it seems easier to just do nothing.  Don’t take the chance, that way nothing can go wrong!, something in your head whispers to you.  This is the same voice that we, as actors, had to overcome to become, well, ACTORS.  One of my favorite geeky actor quotes is from Tom Stoppard’s Rosencrantz and Guildenstern are Dead, “We’re actors, we’re the opposite of people.”  (Also, “You can’t not be in a boat.” “I’ve frequently not been in boats.” “No, what you’ve been is not in boats,” but that’s completely off the subject.)  It’s true, and our willingness, as actors, to expose ourselves, to lay ourselves open before strangers where others would close up and hide away is one of the wonderful traits that makes us artists, risk takers (remember all those silly acting exercises?  Ask someone who’s not an actor to explore their space with their elbow in front of a crowd.  They probably won’t do it.), and what can make us free, if we let it.  The trick is to LET IT.  I’m working on it.  

by Autumn Horne

We had our first cast meeting for van Itallie’s America Hurrah/Mother’s Return  last night, and I have to be honest…I was nervous.  I am still nervous.  The prospect of going to a strange place to work on a strange play is scary…it can be exhilarating too, but to bring it back to a writing exercise we did last night, one has to want to destroy…to destroy what?  Expectation?  Those barriers that keep some of us from connecting with others?  Fear.  Worry.  Past experiences.  It’s difficult for some of us.  Really, really difficult.  I have, of late, been envious (did I say “envious”?  Gotta destroy that too!) of people who can jump in to an experience (read: opportunity) with no plan and no worry.  I think I used to be able to do that, but things pile up inside (all that negative stuff that happens, that you lament, that makes you say to yourself, why does this always happen to me??) and sometimes the pressure becomes so great, so (melodramatically) soul crushing, that it seems easier to just do nothing.  Don’t take the chance, that way nothing can go wrong!, something in your head whispers to you.  This is the same voice that we, as actors, had to overcome to become, well, ACTORS.  One of my favorite geeky actor quotes is from Tom Stoppard’s Rosencrantz and Guildenstern are Dead, “We’re actors, we’re the opposite of people.”  (Also, “You can’t not be in a boat.” “I’ve frequently not been in boats.” “No, what you’ve been is not in boats,” but that’s completely off the subject.)  It’s true, and our willingness, as actors, to expose ourselves, to lay ourselves open before strangers where others would close up and hide away is one of the wonderful traits that makes us artists, risk takers (remember all those silly acting exercises?  Ask someone who’s not an actor to explore their space with their elbow in front of a crowd.  They probably won’t do it.), and what can make us free, if we let it.  The trick is to LET IT.  I’m working on it.  

Requiem’s Bloom

Directed by Robert Colpitts

See the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Requiem’s Bloom

Join the Theatre Research Ensemble as we present a workshop performance of Requiem’s Bloom, an original theatre piece developed by Robert Colpitts, Amy Jones, and Lila Wiengast.

Where do we go when we die? What power does this question have over our lives? How do we bear out our uncertainty? Do we seek to escape or embrace the end? How does this affect the living present moment?

What happens when two women who struggle with these questions embrace, reject, and abide?

Requiem’s Bloom

Join the Theatre Research Ensemble as we present a workshop performance of Requiem’s Bloom, an original theatre piece developed by Robert Colpitts, Amy Jones, and Lila Wiengast.

Where do we go when we die? What power does this question have over our lives? How do we bear out our uncertainty? Do we seek to escape or embrace the end? How does this affect the living present moment?

What happens when two women who struggle with these questions embrace, reject, and abide?

by Lila Weingast

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

by Lila Weingast

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

When I used to picture my life as a struggling actress in New York, my imagination somehow never got around to the part where I’d be sitting on cushions with two amazing artists and laughing about death.

Creating Requiem’s Bloom has been a wild ride for me – fun, frustrating, confusing, enlightening, and occasionally ticklish. I’ve had to stretch my body, brain, and voice in directions they’ve never gone before. Often the different elements start out completely unrelated to each other, but they always snap together and magically make a sort of sense. It’s the most play-like work and work-like play I’ve ever done (no pun intended).

Robert and Amy have been wonderful to work with. Amy’s physical ease and wholehearted participation in the craziest exercises inspires me, and we’ve gotten to the point where we can throw anything at each other while Robert nudges us along the path we’ve all forged. Working without a script feels exciting and dangerous, and even moments that we throw out can inform our performances. The questions that Robert brings up send me deep into myself, thinking about things that had never occurred to me to think about. I’m definitely more aware of impermanence now, and how it affects my life. Death can be funny, jokes can be profound, nothing lasts forever and that’s okay.

My work with Robert, Amy, and Requiem’s Bloom may be impermanent, but I will treasure every minute.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.

At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.

…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.

At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.

…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.

At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.

…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

Requiem’s Bloom

Directed by Robert Colpitts

See the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal.  Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will automatically be allocated to the Theatre Research Ensemble. We thank you for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will be automatically earmarked for the Theatre Research Ensemble. Thanks for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will be automatically earmarked for the Theatre Research Ensemble. Thanks for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

When you click this button you will be taken to Paypal. Your tax-deductible donation to the Interdependence Project will be automatically earmarked for the Theatre Research Ensemble. Thanks for your support!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts. Your donation is tax-deductible, and greatly appreciated. Don’t wait…DONATE!

Click the above link and you will be taken to Paypal.

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts. Your donation is tax-deductible, and greatly appreciated. Don’t wait…DONATE!

Click the above link and you will be taken to Paypal.

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts. Your donation is tax-deductible, and greatly appreciated. Don’t wait…DONATE!

Click the above link and you will be taken to Paypal.

Help the Theatre Research Ensemble grow! Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts. Your donation is tax-deductible, and greatly appreciated. Don’t wait…DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait…DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait–DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait–DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait–DONATE!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait– donate now!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait– donate now!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.

Diving Into Emotions

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions!

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions!

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions!

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

Diving Into Emotions!

The last class in this series will take place on Thursday, August 19th.  Join us for this weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Amy Jones

I have really enjoyed working with Robert and Lila on ‘Requiem’s Bloom’ because they continually challenge me, through their talents and work ethics, to be the best creator I can be…and this leads to new and exciting material. Robert and Lila also possess genuine qualities both as people and as artists, and that produces honest work.
 
At times, I find the process of working on this piece to be difficult, because it requires me to experiment with several creative variables at once…I feel like I am doing the old ‘pat your head and rub your belly at the same time’ trick, times ten. We are asked to play with vocal qualities such as range, volume, speed, and tone while we experiment with movement qualities such as effort, weight and use of space. While we are doing all of this, we are also generating/ trying to recreate movement vocabulary and memorizing our lines.

An actress who inspires Robert said that if you are doing something on autopilot, it is time to add in an element to challenge yourself. For me, coming from a dance background, I have become pretty comfortable with memorizing movement sequences and messing with qualities…so it is only natural that I should add something like text to stay alive and in the moment when I am creating and performing.
 
…and being alive and in the moment is, what I feel, makes the best creative work and what TREe, with its foundation in mindfulness, is all about. I feel fortunate to have the opportunity to work with the group of ‘movers and shakers,’ of intellectuals, of spiritual/philosophical investigators, and of thoughtful and compassionate people who comprise the ensemble.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

by Robert Colpitts

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts.

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts. 

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

Lila Weingast, Amy Jones, and I have been working together a few times a week since July 8th.  Lila is a trained and talented actor; Amy a trained and talented dancer.  I am very fortunate to be able to work with them on the development of this project.  We presented our work on July 30th.  On August 27th, we will present the workshop of Requiem’s Bloom for the last time this year during TReE’s fundraiser.

My main focus as a director during this process has been to help Lila and Amy unlock and understand their unlimited creativity.  Actors who know how to create with movement, song, voice, text, paint, fabric, etc, are the most valuable assets in theatre.  After working with Lila and Amy this month, I feel fully confident that if I hand them a piece of text or theme, they can create something that amazes me.  Ultimately, as a director I want to cut and paste, ask the right questions, stir up impulses, and facilitate discussion.  When an actor is fully in command of her creative tools, a director can actually direct.

A unique challenge that faces our small ensemble is how to create original theatre keeping our vision in mind.  For Requiem’s Bloom, we have chosen to explore impermanence, a concept often spoken of in Buddhist philosophy and text.  For a long time, I’ve told a story about myself:  I’ve never bought a flower for anyone; flowers are dead things.  After reading and hearing about impermanence for the first time, my story came to the forefront of my mind; I saw the flower cut off from its source of life as a symbol for the impermanence all around.  I brought the following questions into the rehearsal space:  Where do we go when we die?  What power does this question have over
our lives?  How do we bear out our uncertainty?  Do we seek to escape or
embrace the end?  How does this affect the living present moment?

The type of work we are doing is new to me.  The path I’m walking is new to me.  The challenges I’m facing are new to me.  I am not unsure, but I am learning that as we engage with these ideas, the foundation that I stand on is daily crumbling.  How could it not?  Yet, when the ground crumbles, even if anticipated and witnessed, new challenges arise.  I’ve found those challenges to be strangely unbearable, as if the true challenges that I need to face are the ones that I am least willing to recognize.  Diving so thoroughly into this project and exploration has left me quite unsettled; so much so that this morning I aspired to understand what that unsettled feeling is.  Part of it is sharing these thoughts. 

Part of it is acknowledging that we’ve only just begun to understand and respond to the questions that I brought with me on the first day.

Diving Into Emotions!

Continuing this Thursday, July 29, join us for a weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

ExTREeVAGANZA 2010! Join us on August 27th at a Dharma Arts feast and fundraiser for TREe.  The evening will include new video from our InterActs performances, food, ecstatic carousing, and a special performance of TREe’s exciting new theatre piece– Requiem’s Bloom.

Diving Into Emotions!

Continuing this Thursday, July 29, join us for a weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

TREe meet and greet! On, July 30th, come to 302 Bowery and share a relaxed potluck (bring your favorite dish) with a supportive sangha: meet new people and have great conversation, preview a work-in-progress performance of TREe’s original theatrical piece “Requiem’s Bloom”, and and learn about TREe’s upcoming projects.

ExTREeVAGANZA 2010! Join us on August 27th at a Dharma Arts feast and fundraiser for TREe.  The evening will include new video from our InterActs performances, food, ecstatic carousing, and a special performance of TREe’s exciting new theatre piece– Requiem’s Bloom.

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Contributing Artists:

Zachary Ciperski

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber

Interested in working with TREe? We are always looking for volunteers to build our community and bring our work to new audiences.  Please feel free to email us at info@TREePlays.com.

Diving Into Emotions!

Starting on Thursday, July 22, join us for a weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

TREe meet and greet! On, July 30th, come to 302 Bowery and share a relaxed potluck (bring your favorite dish) with a supportive sangha: meet new people and have great conversation, preview a work-in-progress performance of TREe’s original theatrical piece “Requiem’s Bloom”, and and learn about TREe’s upcoming projects.

ExTREeVAGANZA 2010! Join us on August 27th at a Dharma Arts feast and fundraiser for TREe.  The evening will include new video from our InterActs performances, food, ecstatic carousing, and a special performance of TREe’s exciting new theatre piece– Requiem’s Bloom.

Diving Into Emotions!

Starting on Thursday, July 22, join us for a weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

TREe meet and greet! On, July 30th, come and share a relaxed potluck (bring your favorite dish) with a supportive sangha: meet new people and have great conversation, preview a work-in-progress performance of TREe’s original theatrical piece “Requiem’s Bloom”, and and learn about TREe’s upcoming projects.

ExTREeVAGANZA 2010! Join us on August 27th at a Dharma Arts feast and fundraiser for TREe.  The evening will include new video from our InterActs performances, food, ecstatic carousing, and a special performance of TREe’s exciting new theatre piece– Requiem’s Bloom.

eMail:
Info@TREePlays.com

Post:
TREe
302 Bowery, 2nd Flr.
New York, NY 10003

eMail:
Info@TREePlays.com

Post:
TREe
302 Bowery, 2nd Flr.
New York, NY 10003

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming InterActs later in 2010 and in 2011!

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming InterActs later in 2010 and in 2011!

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming InterActs later in 2010 and in 2011!

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming InterActs later in 2010 and in 2011!

Diving Into Emotions!

Starting on Thursday, July 22, join us for a weekly class taught by Robert Colpitts with the ensemble of Requiem’s Bloom.

If we can take a simple step back from our emotions, we will find it easier to be compassionate toward them, and allow those thoughts and emotions to express themselves in healing ways.

TREe meet and greet! On, July 30th, come and share a relaxed potluck (bring your favorite dish) with a supportive sangha; meet new people and have great conversation; preview a work-in-progress performance of TREe’s original theatrical piece “Requiem’s Bloom;” ask questions of TREe administrators and ensemble members, and learn about TREe’s upcoming projects and methods.

ExTREeVAGANZA 2010! Join us on August 27th at a Dharma Arts feast and fundraiser for TREe.  The evening will include new video from our InterActs performances, food, ecstatic carousing, and a special performance of TREe’s exciting new theatre piece– Requiem’s Bloom.

In 2007 a group of performers began a weekly practice of gathering to exchange skills and learn from each other’s creative gifts.

At first our meetings were simply collections of activities participants wanted to experience with a group’s support.  This seed led to a period focused on pairing the sonnets of Edna St. Vincent Millay with the teachings of Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

Soon we decided broaden our work through the interactions developed in the “The Reunion”.  By imagining ourselves as a yoga community who had disbanded after it’s guru had passed on, we were able to invite others into our group’s research as fellow “long-lost members”.

In the Spring of 2010 we introduced two new programs: the InterActs public meditation series and our popular play reading and potluck evenings.

We continue to branch out as our research into the personal and communal growth process now includes various live performance projects, educational offerings, and other mindfulness-based cultural events.

Requiem’s Bloom

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Requiem’s Bloom

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Requiem’s Bloom

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Requiem’s Bloom

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosophy, and yoga.

Somewhere between a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

Requiem’s Bloom

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosphy, and yoga.

Somewhere between a play, a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

REQIUEM’S BLOOM

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

The Reunion

TREe’s first play developed from three months of seeking to combine theatre, contemplative philosphy, and yoga.

Somewhere between a play, a transformational workshop and experimental theater lies “The Reunion.” The story relays the dissolution of a once vibrant yoga community that disbanded shortly after their leader died. Years later, the reunion is a chance for members (and audience who are put into the role of former members) to consider re-uniting. It is also an opportunity for the group to heal old wounds, doubts, and fears.

Ego Confession

Performed at The Suffolk gallery in Lower East Side Manhattan. Ego Confession was written by Allen Ginsberg in 1974 and this is TREe’s interpretation.

In 2007 a group of performers began a weekly practice of gathering to exchange skills and learn from each other’s creative gifts.

At first our meetings were simply collections of activities participants wanted to experience with a group’s support.  This seed led to a period focused on pairing the sonnets of Edna St. Vincent Millay with the teachings of Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

Soon we decided broaden our work through the interactions developed in the “The Reunion”.  By imagining ourselves as a yoga community who had disbanded after it’s guru had passed on, we were able to invite others into our group’s research as fellow “long-lost members”.

In the Spring of 2010 we introduced two new programs: the InterActs public meditation series and our popular play reading and potluck evenings.

We continue to branch out as our research into the personal and communal growth process now includes various live performance projects, educational offerings, and other mindfulness-based cultural events.

In 2006, as part of his activities at the Interdependence Project, Josh Adler started a Thursday night group and called it TREe.  Many of our ensemble members have been with us since.  We have expanded our activities to include live performances, public meditation, classes, and play readings.

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Director for the Interdependence Project and a co-creater of the Time Interchange of New York.

He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh taught an Arts and Meditation creative development workshop for the 2010 Scholastic Alliance for Young Artists & Writers National Award winners.

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Director for the Interdependence Project and a co-creater of the Time Interchange of New York.

He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh taught an Arts and Meditation creative development workshop for the 2010 Scholastic Alliance for Young Artists & Writers National Award winners.

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York.

He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh has been invited to teach an Arts and Meditation creative development workshop for the 2010 Alliance for Young Artists & Writers National Award winners.

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York.  He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh has been invited to teach an Arts and Meditation creative development workshop for the 2010 Alliance for Young Artists & Writers National Award winners.

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

photo by Autumn Horne

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

photo by Autumn Horne

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

photo by Autumn Horne

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

photo by Autumn Horne

If you could forget who you think you are, you might catch up with what you really are and can’t see.
- V. Ferrini

photo by Autumn Horne

photo by Autumn Horne

The Theatre Research Ensemble, or TREe, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  We believe performance is an integrative art that can revolutionize our inter-personal relations.  We are dedicated to developing insights into interdependence, educational methods, and social activism.

The Theatre Research Ensemble, or TREe, is a participatory arts ensemble researching how creative practices can lead to a more mindful and sustainable culture.  We believe performance is an integrative art that can revolutionize our inter-personal relations.  We are dedicated to developing insights into interdependence, educational methods, and social activism.

Interested in working with TREe? We are always looking for volunteers to build our community and bring our work to new audiences.  Please feel free to email us @ info@TREePlays.org.

New Plays for the Communal Table

We conduct an ongoing series of play readings complimented with a potluck style dinner.  Playwrights bring their inspiring words, our performers lend spirited voices and you get to share a favorite dish.

Past readings have included works from Randy Noojin, Cheryl Harnest, Jordan Schachter and Robert Colpitts.

Check our calendar to join TREe and friends for our next collaboration of flavors both imaginary and succulent!



If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming Interacts later in 2010 and in 2011!

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming Interacts later in 2010 and in 2011!

If you can meditate in NYC, you can meditate anywhere.

In the spring of 2010 TREe presented a series of public meditation events as a new performance initiative sponsored by the Interdependence Project.

Each month a group of meditators met at different locations in Manhattan to connect our awareness to issues within our community. We expressed these issues as scenes of contemplation intent on encouraging conversation and creative prosperity among both participants and witnesses.

Please check back in the future for upcoming Interacts later in 2010 and in 2011!

Help the Theatre Research Ensemble grow!  Part of our mission is to financially support our ensemble with a living wage so that we may dedicate our time to building a more mindful and sustainable culture through the arts.  Your donation is tax-deductible, and greatly appreciated.  Don’t wait– donate now!

REQIUEM’S BLOOM

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

REQIUEM’S BLOOM

Directed by Robert Colpitts

See a preview on July 30th, and the end of Phase 1 on August 27th!

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

REQIUEM’S BLOOM

Directed by Robert Colpitts

Where do we go when we die?  What power does this question have over our lives?  How do we bear out our uncertainty?  Do we seek to escape or embrace the end?  How does this affect the living present moment?

Using powerful, engaging theatre tools drawn from a variety of practitioners and theorists including Michael Chekhov, the actors of Odin Teatret and Eugenio Barba, and Mary Overlie, we will create an original theatre piece drawn from the above questions.  Actors will use the full range of their creative abilities to create this piece.  In addition, all training, exercises, conversations, and interactions will be used to develop our artistic connections and encourage personal wellness using community building exercises.

Robert is TREe’s Associate Director and a writer, actor, artist, and filmmaker who draws artistic inspiration from the Michael Chekhov Technique and Odin Teatret. He was a participant in Odin Teatret’s Odin Week in 2006. Robert received his MFA in Acting from Roosevelt University, and spent 2 years studying Dramaturgy at SUNY Stony Brook. Robert is the author of a variety of unpublished theatrical texts.

Josh Adler is the Artistic Director of the Theatre Research Ensemble (TREe), the Arts Coordinator for the Interdependence Project and a co-creater of the Time Interchange of New York.  He is a professional videographer, live events producer and an acting teacher.  Josh also creates photography, facilitates expressive arts workshops and performs in New York City.   He received his MFA in Acting from the University of Iowa.

This June Josh has been invited to teach an Arts and Meditation creative development workshop for the 2010 Alliance for Young Artists & Writers National Award winners.

Jordan Schachter has written, directed, and acted in numerous plays, TV pilots and feature films. Prior to “The Reunion,” his most recent stage production was “Trying to Get To The Moon” which he also wrote and directed. He wrote and directed his first two feature films (“The Legacy of Walter Frumm,” and “Until Death”) then he added acting into the mix for “The Film You Did Not See” and “Who Am I”.

Jordan is a co founder of www.TimeForCharity.com and www.TimeInterchange.com

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Contributing Artists:

Zachary Ciperski

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Zachary Ciperski

Contributing Artists:

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Zachary Ciperski

Contributing Artists:

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Zachary Ciperski

Contributing Artists:

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber

Staff:

Josh Adler - Artistic Director

Robert Colpitts – Associate Director

Zachary Ciperski

Contributing Artists:

David Bartlett

Diana De Luna

Andrew Eldredge

Autumn Horne

Amy Jones

Helen Nesteruk

Kristen Schifferdecker

Jordan Schachter

Michael Schreiber