Submitted by Anne Bogart on November 14, 2016 - 12:45pm
Every autumn I arrange two museum visits with my first-year Columbia MFA directing students. On November 9th we were scheduled to meet at 9:30 a.m. at the Museum of Modern Art on 54th street in Manhattan. But on November 9th the world into which I woke felt decidedly different. Actually, I did not really wake up into that day because I had not slept at all. Two hours before Hillary Clinton’s lead began its long descent, I began to feel catatonic. I sensed that something distressing was on the horizon.
Submitted by Michelle Preston on November 9, 2016 - 1:19pm
The daily commute to the SITI office this morning was greyer than usual and it wasn’t just the overcast sky or that New Yorkers have donned their seasonal black and grey ensembles. No it was so much more than that. The city was tinged with sleeplessness, disappointment, grief, fear, disbelief, and for some ambivalence. There are those who didn’t dare to hope because they’ve seen enough of the world to expect disappointment, but I wasn’t one of them. I know I wasn’t alone in that.
I am at my core a planner, an action orientated person who searches for solutions. This is one reason why I work in arts administration; to help order creative chaos in a way that allows it to flourish. So as I sit at my desk this morning the questions that run through my mind are: what can we do now? How can we be better advocates for the issues we find important? How can we as a field amplify the voices and the stories that simply cannot go unheard over the next four years? Can theater and the performing arts help to heal the cavernous divide in this country and illuminate common ground? I’m not the only one asking these questions and I certainly do not have all the answers. But there are a few things that I feel strongly about at the moment.
Submitted by ConArtists on October 19, 2016 - 5:20pm
This October, SITI welcomed 18 artists from around the world to the SITI Conservatory. Over the next eight months, we’ll highlight the work of one Conservatory Artist each week. Today, we’re sharing an interview with Jonathan Taylor, the Artistic Director of In The Water Theatre Company and a member of the Conservatory Ensemble.
Submitted by Anne Bogart on October 17, 2016 - 10:08am
On the evening of October 24th SITI Company will host a Noir Dinner, a fundraising event, in the wonderful restaurant known as the Library at the Public Theater where we will be honoring the brilliant duo Julie Taymor and Elliot Goldenthal. The event promises to be joyful and delicious and I have been working hard with the SITI Company actors on a fun and surprising entertainment. But we need your help to meet our goal; all money raised in support of the Noir Dinner stokes the fires of SITI Company and keeps us moving forward.
Submitted by SITI Alumni on October 4, 2016 - 5:12pm
On Facebook and here on the SITI Company blog, SITI has been spotlighting alumni of our many training programs. Today, we have the great pleasure of spotlighting Jeremy Pickard and Lani Fu, the Directors of Superhero Clubhouse. Superhero Clubhouse is a New York-based collective of artists and scientists working at the intersection of environmentalism and theater.
Submitted by SITI Alumni on September 21, 2016 - 10:49am
On Facebook and here on the SITI Company blog, SITI has been spotlighting alumni of our many training programs. Today, we have the great pleasure of spotlighting Violeta Picayo, who is alumna of SITI’s inaugural Conservatory class. Born and raised in Greenwich Village, she is a graduate of Vassar College and the National Theater Institute. She spent time studying theater and dance in Buenos Aires, Argentina and has performed internationally in Argentina, Greece, and Scotland.
Submitted by Anne Bogart on September 12, 2016 - 10:08am
I recently saw a Polish production of King Lear at the Venice Biennale directed by Jan Klata. But Lear was missing. Literally. At first the character of Lear was represented by an empty chair and a recorded voice and later by various visual projections. What the audience did not know and what I learned later, is that the actor who had originated the role had died a few months earlier. Rather than finding another actor to take over the part, Klata decided to deal with the actor’s physical absence within the context of the production. But this choice failed.