Exciting Opportunity for Female Playwrights!

Attention TheatreMakers and Friends of NOplays!
NOplays and Casa de Beverley are excited to announce a special opportunity for female playwrights.

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This season Casa De Beverley is focusing on female playwrights in the tri-state area and we are inviting you to join us at the Casa de Beverley’s dinner on Saturday, August 20th. Bring your 10 minute play (or plays) of 4 characters or less and a synopsis of said play to dinner. We’ll share synopses and Katie Hahn will present the details on the season and important info each playwright needs to participate fully. This dinner will give us a chance to build on the wonderful Casa community you’ll be joining as a playwright for season three. If you cannot attend the dinner, but ARE available for any of the event dates listed below, submit by email: katie@casadebeverley.com

Accepted participants will be notified by August 25th.

We are off the Q train in Brooklyn, street parking available.
The address will be released to participants. Thank you!

Season three dates are:
August 20 – Playwright invitational Dinner

Shows:
September 17th
October 15th
November 19th
February 18th
March 18th
April 15th

There is no charge for playwrights to participate. This year we will ask playwrights to arrange and bring their own cast and director as well as continue to provide scripts for rehearsal and show. Rehearsal is 2-5. Show is 6-9. We can offer some help in the form of email lists of actors and directors if needed.

Note allergies to dogs or cats.

Casa De Beverley’s Mission Statement:

Casa De Beverley is a community and art space located in the heart of Ditmas Park in Brooklyn, New York. Our goal is to build and nurture a community that values creativity and life-long learning. We do this through a variety of events including theater performances, yoga, healthy living get-togethers, guided meditation, personal development, guest lectures, and studies in applied sensuality and sexuality. Anyone and everyone is welcome.

One Acts and Snacks (OAS) is the brainchild of Katie and Orin Hahn. This monthly event combines a love of theater and food with a shared desire to build a community that nurtures burgeoning artists, playwrights, and actors. Our goal is to inspire great artistic endeavors and encourage fascinating conversations between old friends and new. To do this we gather playwrights, actors, and theater lovers in a cozy intimate setting to share what feeds our minds, bodies, and souls.

One Acts and Snacks is not a traditional play performance, but rather a semi-produced table-read. This means that each character is assigned an actor or actress, and the entire script — along with the stage directions — is read in its entirety.

Following the read-through, the audience will be able to interact directly with the playwright, asking questions and providing feedback. Socializing and networking will follow.

Our Script Acceptance Process:
We seek scripts that would benefit most from immediate, in-person, constructive feedback in order to meet our goal of nurturing new art. We look for creative new takes on issues past, present, and future, as well as pieces that lend themselves to artistic discussion. We support a diverse community and welcome all shapes, sizes and shades.

Privacy and Rights:
The playwright retains all rights for any play submitted or performed. We do not permit any audio or video recording of the reading. Photography is not allowed during the reading. Participants and audience members may be photographed during networking time before and after the event. Those who wish their image not utilized in future Casa de Beverley and One Acts and Snacks marketing are encouraged to alert the production team at info@casadebeverley.com

Important Links:

Casa de Beverley Homepage:
www.casadebeverley.com

OAS Homepage:
www.casadebeverley.com/oneactsandsnacksOAS Facebook Page:
(This public space will be used to advertise your show to our community.)
www.facebook.com/oneactsandsnacksOAS Facebook Group:
(As a contributor you may request access to this group to keep in touch with other playwrights and actors)
http://casadebeverley.us10.list-manage.com/track/click?u=7e14a159734cf352f6306484c&id=345d65f429&e=a63886091dEvent Start Time:
Call for Playwrights and Actors is 3pm and the show begins at 6pm. Please be punctual so we can start the event on-time. We generally go till 9. Plan to attend the entire event.Before and After the Reading:
Immediately after the reading, the floor will open to questions and comments about the play. Audience, playwright, and actors are encouraged to mingle and network after the reading is complete. Snacks and drinks will be available before and after the reading.

We hope to see as many of you as possible on August 20th! Feel free to pass this information along to any other playwrights you know who may be interested in attending.
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An Interview with Emma Plotkin

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Emma Plotkin discusses her new play PINA, which will be premiering as part of the 365 Women a Year Festival at Hubbard Hall’s Winter Carnival.

Interviewer: Natalie Osborne

Q: How did you hear about 365 Women a Year?

A: I first heard about 365 Women a Year when I saw the festival performed at Bennington College.

Q: Why did you choose Pina Bausch as your historical woman? What drew you to her?

A: Pina is one of the foremost choreographers in modern dance. Her work is raw and revolutionary. It contains a clear love of lines and creates pictures on stage but there is also a theatrical element that doesn’t seem overwrought or cliched. I love the way she speaks about dance, it is clear that this art is her innermost being.

Q; Can you walk me through the process of adapting a person’s life for the stage? What were some of the challenges? Which parts really clicked together?

A: I have seen a couple of documentaries about Pina before beginning the process of adapting her life, including “Pina” by Wim Wenders and “Dreams in Motion: In the Footsteps of Pina Bausch.” I also watched some of her most acclaimed work including “Cafe Muller” and “The Right of Spring.” After this I sorted through some interviews to get a better sense of how Pina speaks, not only the content but the speech pattern. It was difficult to find articles Pina had written but there is one speech she wrote for the Kyoto Prize in 2007 called “What Moves Me” that helped fuel this play. Some things are directly sourced from this speech, for example the phrase “What moves you?” and the story about Pina living in the restaurant with her father. I knew that the story could not possibly be a completely accurate portrait of Pina and her company, but all the dancers are based on real people.

There is very little documentation about Pina’s personal life save that her first husband had passed and that she remarried and had a son. The entire “personal life” section on her Wikipedia page took up two sentences! Pina is not a love object; that is not why I and other people should look up to her. Pina’s life was in her work. So I wanted to write a piece that provided commentary to her choreography and an emotional dialogue embedded in the practicalities of creating work. When Josephine says that “Cafe Muller” is revolutionary she means it. “Cafe Muller” comes out of Tanztheater Wuppertal, dance theatre, a form with music and other sounds, strong emotions and evocative set and costume. Pina says “It is almost unimportant whether a work finds an understanding audience. One has to do it because one believes that it is the right thing to do. We are not only here to please, we cannot help challenging the spectator.”

Q: Can you walk me through how you incorporated movement into the piece?

A: Pina is all about movement. If you watch her interviews and read her speeches there is a certain way they move too, everything blends together, which is the basis of Tanztheater Wuppertal.  So I would write with music from her show in the background and then watch and rewatch her dances. The dance I was most drawn to was “Cafe Muller.” I remember seeing this dance on Youtube when I was a child and not understanding in my mind but responding deeply to the movement that seemed so longing, desperate and lonely. After reading Pina’s story about her childhood in her father’s restaurant, I arrived at a possible conclusion for the choreography behind this piece. The movement motivates the dialogue, it recalls the past.

Q: Are there any playwrights that inspired you while you were working on the piece, or who inspire you in general?

Yes, I was reading well over a dozen plays (at the same time ahh!) before starting this piece and while the styles may be different, I have a lot of a playwrights who have influenced or inspired my writing. I owe a great debt to Lanford Wilson, not only as a playwright but as a teacher. When I was 17 I attended a program called New York Summer School for the Arts of (NYSSSA). This is where I learned how to work with an ensemble, to move between dance and theater and this is where I wrote one of my first plays. Lanford Wilson had fought and fundraised for NYSSSA and the program continues to benefit from his patronship. I assistant directed two short Tennessee Williams plays last year at the Hangar Theatre. Tennessee Williams is one of the foremost poet playwrights of our time. Poetry to movement is like sand to the sea, enriched by their joining. Sherry Kramer, a playwright responsible for such transformative work as “The Bay of Fundy” has been a huge inspiration. Not only is she a terrific playwright but she is an incredible teacher at my school. Sherry has taught me the ABC’s of playwriting, everything from breaking down a script to breathing life into my characters. I owe her a great debt and am forever grateful for her support and knowledge. Other playwrights that have had a profound influence on my work include Sarah Ruhl, Sarah Kane, Alice Birch, Caryl Churchill, Anton Chekhov, William Shakespeare and Sophocles.

Q: What has been your favorite aspect of working with 365 Women a Year?

I love that this festival feels like a community! I saw 365 Women a Year Bennington College. I met the inspirational powerhouse Shelly Lubin and I’ve been fortunate to study with Natalie Osborne! Part of my studies include female empowerment and examining female role models in media, so this was an amazing opportunity to put a woman on stage who is complicated, dynamic and focused on following her passions rather than focusing on a love interest or being flattened by passivity and circumstance. Pina is powerful. Pina is revolutionary. Pina is an inspirational woman!

Q: Do you have any advice for playwrights joining 365 Women a Year in 2016?

Take your time selecting a woman to write about. I spent a couple of weeks looking through autobiographies and watching movies before I chose Pina. Also ask yourself, “What about this woman inspires me?” Personally I would stay away from her love life unless it’s relevant to what makes her kick ass, because putting a woman on stage is not enough. As a playwright we have a responsibility to put up characters who are holistic (or satirically flat), who have passions and who inspire others to live empowered fulfilling lives which are not going to be derived solely out of the media myth of romantic love! Am I for love, hell ya! Do I love my work, hell ya! Do I love my family, hell ya! So let your character love, but love the world, let her be so big and complicated and powerful and fearful and loving that she becomes a hand pressing at the ceiling – confines that each of us has placed on ourselves. Write a woman who shatters the ceiling, that’s the play I want to see.

Emma Plotkin is a Playwright/Poet, Director/Devisor, Actor, Singer/Musician, Mover/Dancer (Theater Maker?) and Life Lover from Ithaca NY. At Bennington College she explores the interdisciplinary nature of performative work as well as themes of marginalization and empowerment including the history of colonialism, structural and microaggression, feminism, gender equality, global conflict resolution and the portrayal of figures in media. At the heart, her work has explored the humanness of characters colliding with rigid societies. Her most recent work includes devising/directing “One Man” which investigates assimilation and incarceration in a hierarchical world (sounds familiar) and directing/writing “Black Out” which explores the relationship of a dying Jewish woman and her former Nazi pupil during the beginning of WWII. Emma has most recently studied with and owes a great debt to, Robert Wilson and the Watermill Center, Sherry Kramer, Dina Janis, Jean Randich and the whole of Bennington College, Teya Sugareva, The Hangar Theatre, New York State Summer School of the Arts and Running to Places Theatre Company as well as her incredible friends and family. There is no way I would be here today without your mentorship, love and support.