Archive for the ‘Literary Arts’ Category

The moments of “Antigonick”

October 30th, 2013 No comments

Antigonick, directed by Ianthe Demos, the artistic director of One Year Lease, is poet Anne Carson’s translation of Sophocles’ classic tragedy. Demos is currently in residency as this year’s Visiting Director, a program sponsored by both the Office for the Arts and American Repertory Theater. I spoke with David Manella ’14, one of the producers of Antigonick, as well as Demos, about their thoughts on the rehearsal process, production intentions and audience takeaway.

On the new translation:

Ianthe Demos:

Anne Carson’s version is a translation, not an adaptation. She does remain very true to the original text in so many ways, although it is severely cut down. She hasn’t adapted any of the storyline. The chorus is even the same, but she has paraphrased it at times and greatly shortened it. I think what’s so interesting for me about her is that she is both telling us the story of Antigone and commenting on it from a modern perspective. One of the notions that the script, for me, revolves around is this idea of a “nick of time.” Potentially, do we have the chance to change these events in a single moment? I think Carson says we do, although at the same time, it’s pretty adamant that we never would.

David Manella:

Anne Carson is very interested in efficiency of language. The language used is very different and self-referential. It has a more contemporary and poetic tone. It is much more sparse: Carson will take a single passage of Sophocles’ text and convert it to a word. Carson is interested in themes of familial and societal decay and destruction. She shows this by adding a literary device in the form of a character called Nick. Nick is onstage the entire time measuring the action of the play. She is discovering those points of time when a character makes a decision or goes down a path that then becomes irreversible towards the destruction we see at the end of the play. In Carson’s version, the audience is cast in the role of Nick.

On the rehearsal process:


It’s a very open rehearsal room, but it’s also geared towards the final product. It’s an interesting mix of keeping the room open to new ideas, and also picking and choosing through those ideas. There’s a selection process that’s happening as the ideas flow into the room. The focus gets sharper as we keep going because we start speaking the same language. I knew I wanted to explore Greek dancing, painting, lacrosse and sports. It is a very open process in the beginning couple of weeks. We have a sense of the ideas we want to explore, but where they’ll take us is unknown.


Ianthe comes from a background of very experimental and movement-based work. She does not believe in coming into the rehearsal room on the first day with this single-vision for staging in mind, and then impose that on the cast. Her method of staging is not only to bring her own thoughts of the piece, but also use the actors and their unique tones and abilities to craft a new understanding of the piece to then revise the staging as the cast and crew’s understanding of the text develops. They use a lot of movement-based exercises in the beginning to develop a stylistic tone for each of their characters. They spent a lot of time in the rehearsal room just discussing the text and to develop their own meaning of it. I think it’s been a really special process for the cast to do something entirely new than what is normally done by Harvard student directors, and I think it just brought to them a new perspective on the rehearsal process. It can be much more dynamic than just learning staging from a single scene.

On audience reception:

Ianthe Demos


I hope audiences will see this ancient story as a story throughout time, that we are Read more…

Traveling to Alcott’s Concord with “Little Women”

October 28th, 2013 No comments

Louisa May Alcott‘s Little Women is a classic novel about New England girlhood during Civil War years. The book is a perennial favorite – it’s one of the top 100 novels for children –  which is likely the reason composer Jason Howland, lyricist Mindi Dickstein and writer Allan Knee adapted it as a Broadway musical in 2005 . The Harvard cast has been busily rehearsing the show all semester, and the creative team recently had the chance to deepen its understanding of the text and setting in a unique manner. By visiting Orchard House in Concord, Mass., where the author’s family lived from 1858 until 1977 (and where she wrote and set the original story), the cast and crew were able to make connections to their work in concrete ways. We asked the actors playing Meg, Jo, Beth and Amy – the famous March sisters – to tell us about the experience of going to the “family home.” Little Women opens Thursday, Oct. 31 and runs through Saturday, Nov. 9 in Farkas Hall.

Did visiting the house change the way you see your character?

Page Axelson, Salem State University (Amy): “Absolutely. Before visiting the house, I felt very little connection to Amy. That changed when I went to Concord. Standing in her room and seeing her pencil drawings all over the walls made me feel very close to her. I feel a kinship with my character more than ever before. Visiting the house was a unique opportunity for us as actors. How often to you get to be that close to someone you’re portraying in a show?”

How else have you researched the show and your role?

Tess Davison ’16 (Meg): “I read the abridged version of Little Women in my 6th grade English class. When I found out that the show was going to be put on here at Harvard, my mom suggested that we both read the original version to get more acquainted with the story and the characters.”

What moments came to life for you when you visited the house?

Olivia Miller ’16 (Beth): “The skits and stories Jo writes in the musicals concerning Rodrigo are some of the liveliest and most playful parts of the musical. Seeing the actual costume trunk, hat and boots that Louisa used to reenact the character from her fantasies was amazing.”

How do you approach playing a well-known character from such a beloved story?

Taylor Kay Phillips ’15 (Jo): “Jo is such a beloved character because so many young, ambitious girls relate to her story. The big difference between Jo and me is that Jo is never embarrassed. She’s so focused and passionate that she doesn’t have time to be self-conscious. Rather than trying to ‘be Jo’ or ‘act like Jo,’ I always go back to asking, ‘What does Jo want?’ and ‘How would I get it if I weren’t embarrassed?’ Jo never considers the possibility of failure – and that’s why she’s such an appealing character, because being fearless and being unique are her virtues.”

Director Susanna Wolk ’14 on the rise of “Yellow Moon”

October 10th, 2013 No comments

In the spirit of Bonnie and Clyde with two teenage runaways involved in murder, theft and deceit, Yellow Moon: The Ballad of Leila and Lee is an encounter with memory, story-making and storytelling. Yellow Moon director Susanna Wolk ’14 spoke with me about her vision for the show. Performances run Oct. 10-12 at the Loeb Ex.

How does the use of the black box help shape a story in your show?
A black box like the Ex is so exciting to me because it creates a real intimacy with the audience that would be impossible to achieve in a proscenium space. That type of visceral connection is so important to Yellow Moon, since so much of the show is directly speaking to the audience with no set and almost no props. They can really imagine the physical world along with the actors. But more than that, having the spectators there, in such close proximity really adds urgency to the characters’ quest to turn memory into a story. The show is in the round, and we have three rows of seats including one row on the ground with blankets and pillows. There will be hot chocolate. I want it to be like sitting around a campfire and watching a story unfold. Read more…

Cesar Alvarez asks questions musicals (and songwriters) answer

October 8th, 2013 No comments

What stories need to be musicalized?

How do we make sure that every element of a song adds to the storytelling?

How do we get the music to answer the questions the lyrics ask?

What is the purpose of a hook?

Whenever our professor poses questions like these, I scribble frantically, rushing to write down the answers to these questions and a few fleeting thoughts on the answers before the inspiration leaves me. Visiting professor César Alvarez, a member of The Lisps and writer of Futurity, asks these questions to get me and 15 other students in Drama 169x: Emerging Musical Theater thinking innovatively about songwriting and storytelling in musical theater.

“This course is me sitting down and trying to put together a class about what I am most interested in,” says Alvarez.

César Alvarez (center) with Anise Molina '14 and Fiona Kyle ART/MXAT '14

I sit with him on the Science Center Plaza. He is in Cambridge on Mondays only  since he’s currently working on a production of The Good Person of Szechwan at the Public Theater in New York City.  We meet during his office hours prior to class. Construction noises and a theme from the musical Once being played on one of the pianos placed nearby by the Play Me I’m Yours project underscore our meeting.

“I’m interested in looking at the way musicals are built,” he says. “How does the changing musical landscape of the 21st century allow us to tell stories in a new and authentic, contemporary way?” I jot down this question. I am in the class, after all, and as an aspiring musical theater writer, it’s something to keep in mind. Read more…

Surrogate subjectivity with Radcliffe’s David Levine AM ’96

October 7th, 2013 No comments

David Levine PHOTO: Tony Rinaldo

David Levine, a Radcliffe Fellow in Visual Arts, creates interdisciplinary work with theater, psychology and video. Through his fellowship, Levine, AM ’96, is pursuing Character Analysis, an experiment in which volunteers are paired with actors over a period of three months so the actors can “acquire” the participants’ subjectivity. Levine is also a professor at the European College of Liberal Arts of Bard in Berlin, Germany. Levine’s work in the visual and performing arts exhibits internationally, from MASS MoCA to the Townhouse Gallery in Cairo, Egypt. Levine and collaborator Marsha Ginsberg were awarded special citations at the 2013 Obies for their 2012 art theater project Habit. I sat down with Levine to discuss his experiment and its outcomes. The following, which is the first part of two posts on Levine’s work, is an edited and condensed interview. You can read the second post, with Lelaina Vogel ’15, a participant in the project, here.

What is Character Analysis?

Each actor gets a volunteer and they meet three times a week for three months, for roughly a 50-minute hour. Over that period the actor, in theory acquires the subjectivity of the person. They take all the skills they have as an actor and try to understand the character. It’s a portrait of the actors as much as it is a portrait of the volunteers. They get to send their surrogates out on a mission to do something on behalf of the original, or experience something on behalf of their original. Then they come back, in character, they’re interviewed, in character about how it felt, and then the original gets the video as a sort of document of what they experienced. One sent her surrogate to see The Donkey Show, because she never had time, but she was curious. One of them had Read more…

Adventures on the Mississippi

September 27th, 2013 No comments

Devi Lockwood ’14, an associate of Dudley House concentrating in Folklore and Mythology with a citation in Arabic, was awarded an Office for the Arts at Harvard/Office of Undergraduate Research and Fellowships Artist Development Fellowship to create a series of interlocking poems examining the folklore and stories associated with the southern Mississippi River between Memphis and New Orleans. Lockwood is a two-time recipient of a Carol K. Pforzheimer Student Fellowship (2011 and 2012) for projects exploring the works of female poets at the Schlesinger Library. Her work has been published in a number of publications including Tuesday Magazine, Sinister Wisdom, Awosting Alchemy, Verse Wisconsin, and others. She plans to pursue an MFA in poetry. She filed this post from Louisiana; read her first post from Provincetown here.

A short story:

Earlier today I stood not ten feet away from an adult Bengal tiger. And I know what you’re thinking—this is not my real life on the Mississippi version of Life of Pi.

Devi Lockwood

I took a water break from riding my bicycle at the Tiger Truck Stop in Grosse Tete, Louisiana near the intersection with Highway 10. The place has continuously owned tigers for the last goodness-knows-how-many years and now there is a Louisiana state court case about it that might go to the Supreme Court that pits an animal rights activist who is protesting the tiger’s exposure to diesel fumes against the store and its clientele. There was a shirt inside for sale that said “tigers eat animal rights activists for breakfast” (more at There’s a poem in here, I know it.

I would say that every day on this bike trip is an adventure, but it’s really more like every hour. Tonight I am staying with a wonderful Cajun family in Grosse Tete, Louisiana—somehow I have had the luck of meeting such great people Read more…

The arts of the Nieman Foundation at 75

September 26th, 2013 No comments

Harvard’s Nieman Foundation for Journalism, one of the oldest and most prestigious study programs for members of the media, turns 75 during this academic year. More than 1,400 journalists from 92 countries and territories have taken a year to exhale, explore, expand their horizons at the Walter Lippmann House on Francis Avenue, where the foundation is located. In 2008, under the leadership of then curator Bob Giles, the foundation established a special fellowship for an arts and culture reporter to be a part of the class each year. Ann Marie Lipinski, the current curator and host to a heady three-day celebration that kicks off Friday, Sept. 27, has added the A&C slot to the regular lineup of beat reporters accepted into each class, which this year includes NPR’s Alison MacAdam who is studying the intersection of  arts with business, law and technological innovation, as well as the ways cultural institutions are preparing for the future. We asked Lipinski about the role of A&C journalists for the fellowship and for the larger dialogue in the media.

Each year, the Nieman Foundation includes an arts and culture fellow. Why is it important to have this voice in the mix of the Nieman class?
One of the strengths of the Nieman class every year is the rich range of experience and knowledge that each fellow brings to the fellowship. Just as in a newsroom, that diversity of perspective is important to our understanding of the world and how things work. This past fellowship year, we were fortunate to have three extraordinarily accomplished arts journalists – an architecture critic, a book review editor, and a food and restaurant critic. Buildings, books, food – they’re every bit as fundamental as politics or government or, sadly, war reporting, and when you gather people of tremendous skill in each of these areas there is a kind of learning that takes place that elevates them all. Read more…

Finding his “Way” in Cambridge

September 20th, 2013 No comments

Bill Rauch ’84 PHOTO: Oregon Shakespeare Festival

When Bill Rauch ’84 talks about his Harvard years, you can hear the gratitude and affection in his voice, see it in his smile. While he was at the college, he found his career, his husband and his first company. And his passion for embedding theater artists and projects in communities. Back then, American Repertory Theater was just getting started, and theater was a heady experience at the college. You can see the origins of his theater philosophy in this Crimson interview from 1984, when he was about to launch his career.

Rauch opened a production of Robert Schenkkan‘s All the Way on Sept. 19 at A.R.T. The play is about the early days of Lyndon B. Johnson’s presidency and stars Bryan Cranston (of AMC Breaking Bad fame) as LBJ.

“When I started as a freshman at Harvard, Bill was kind of a legend,” says A.R.T. artistic director and producer Diane Paulus ’88. “When I started my first theater, I wrote to Bill, and he shared advice and encouragement. Now we have a very strong relationship as colleagues, as fellow artistic directors. It has been a dream of mine to bring him back to the A.R.T., back to his stomping grounds here at Harvard. We have been talking for years about various projects, and then the stars aligned with this bracing new play.”

Just shy of 30 years after graduation, Rauch, who is artistic director of the Oregon Shakespeare Festival, sat with a handful of Harvard arts students at the Office for the Arts to talk about a life in the arts, his years on campus and All the Way. “When people wait for opportunities to come to them, it breaks my heart,” Rauch told the students. “I’m a really big believer in make the work. Just make the work. And don’t wait for people to hand you things. Don’t think they owe you anything. Get out there and do it. The secret is: Take whatever coal they dump on your head and feed it into the engine to make the work stronger. How are you going to make a difference? How are you doing to make the world a better place? Those are the big questions. So go for it. Follow your dreams.”

The week before the show opened, I met up with Rauch to talk about his time at Harvard — past and present.

How did you get your start at Harvard?
I came here wanting to be an actor. I acted in a play in the Loeb-Ex my freshman year, and I had a passion to direct. I applied for and got a slot for spring semester. And that was it. I joke that I’m going to spend the rest of my career trying to direct with the pure instincts I had that first time. Read more…

A place for poetry

Devi Lockwood ’14, an associate of Dudley House concentrating in Folklore and Mythology with a citation in Arabic, was awarded

"Immersing myself in the totality of this beautiful place" (photo by Devi Lockwood).

an Office for the Arts at Harvard (OFA)/Office of Postgraduate and National Fellowships Artist Development Fellowship to create a series of interlocking poems examining the folklore and stories associated with the southern Mississippi River between Memphis and New Orleans. Lockwood is a two-time recipient of a Carol K. Pforzheimer Student Fellowship (2011 and 2012) for projects exploring the works of female poets at the Schlesinger Library. Her work has been published in a number of publications including Tuesday Magazine, Sinister Wisdom, Awosting Alchemy, Verse Wisconsin, and others. She plans to pursue an MFA in poetry. UPDATE below.

Greetings from Provincetown! I’m finishing out a fantastic, week-long poetry workshop at the Fine Arts Work Center with Gail Mazur. Gail is a Boston native with an impeccable sense for the musicality of words. She, along with a multi-generational room of classmates, have pushed me to grow this week. I’m embracing capitalization and the music of punctuation, a step in the right direction for me. The class has met every day for three hours in the afternoon, leaving lots of time for writing, exploration, and more writing. We also had an opportunity to give a public reading on the last Thursday of class. Read more…

Building creative capacity: Arts education in the 21st century (Part 2)

July 17th, 2013 No comments

Several months ago, four students at the Harvard Graduate School of Education (HGSE) deliberated how to advance education from a passive institution to a driving force that develops essential learning and life skills. Brought together from four countries by Harvard, the role of art in each of their personal narratives inspired them to choose art as the agent of change. They formed Creative Capacities International, using music, dance, spoken word poetry, and visual arts to teach critical thinking, communication and collaboration, and creativity. From an idea in a classroom in Cambridge, they have recently brought the transformative power of the arts to the remote foothills of the Himalayas and dirt-floored classrooms on the outskirts of Port-au-Prince. This is the second post in a four-part series on arts education.

By Terryl Dozier, Ed.M. ’12

There is a fascinating phenomenon that occurs when you give youth a pen, microphone and an ear, and tell them, “What you have to say is life-saving.” Somewhere between fervently scribbling metaphors and shouting over the deafening silence of an awaiting audience, a student creates “impact.”

Enter Me. I was once that student. A student voted “Most Quiet,” who passed through high school with the burden of wanting to say everything I didn’t know how to express—until a teacher, interested in a few of my thoughts, mandated a poem and gave me an audience. I wrote “Who I Be,” a simple composition questioning the stereotypes surrounding the intersection of race, socioeconomics and geography. Yet it wasn’t until a year later, when a noticeably shy underclassman mustered the courage to walk up to me and say, “I began writing because of you” that I learned the value of my words and myself. Read more…