Showing 1 - 3 of 3 Items

Date: 2022-01-01

Creator: Grace Kellar-Long

Access: Open access

For my honors project, I selected, wrote, directed, and produced an adaptation of a science fiction novella for the stage. I chose Nino Cipri's Defekt as the source material for my adaptation because I wanted to adapt a text where the novum, or science fiction novelty, is located in the bodies of the actors. During the written adaptation process, I worked from my memory of the novella, highlighting and expanding on the themes of queer found family, empathy, and anti-capitalism that were already present in the text. I repeatedly attempted to contact the author, their agent, and the publisher to secure the rights to adapt the novella, but I did not receive a reply from any of the copyright holders. After I adapted the novella into a script, I conducted a staged reading. Following that reading and further revisions of the script, I began rehearsals for the full production. During the rehearsal process, I guided the actors to create a shared vocabulary of movement to communicate that they were portraying clones, the embodied novum I focused on in my adaptation. In addition to leading rehearsals, I also coordinated the logistics to produce the play, including working with two designers, creating rehearsal schedules, and working with the tech staff in the Theater Department. The final performance examined the boundaries between human and non-human bodies, inviting audiences to think about how capitalism and empathy determine how we interact with marginalized bodies. This packet contains the program and program notes from the production.

Date: 2020-01-01

Creator: Uriel López-Serrano

Access: Open access

Sor Juana Inés de la Cruz (c. 1648-1695) was a Mexican nun, poet, playwright, and scholar from the colonial era. She has become an icon for various global, social, and political movements. This project looks at four dramatic works created by Sorjuanistas who reimagine Sor Juana’s story for contemporary audiences living in the United States. The works included in this essay are Estela Portillo-Trambley’s Sor Juana (1986), Karen Zacarías’s The Sins of Sor Juana (2001), and Alicia Gaspar de Alba’s “Interview with Sor Juana Inés de la Cruz” (1998/2014) and her newest work, Juana: An Opera in Two Acts (2019), libretto by Carla Lucero. In addition to reimagining Sor Juana’s story, these dramatic works expose the sexism, racism, and xenophobia perpetuated by U.S institutions of power that discriminate against Latin@ and Chican@ individuals. By shedding light on the social injustices that existed during the colonial era, an embodied Sor Juana teaches audiences how to resist and mobilize against such oppressive powers. Sor Juana’s narrative on stage is necessary because she is a role model for Latin@s/Chican@s. Sorjuanistas remind us that the body can be used to retell the narratives of the silenced individuals who are victims of oppression. By developing heritage performances, Sorjuanistas challenge histories that silence and overlook social injustices. Witnessing Sor Juana on stage triggers emotional responses to the past which allow historical actors to obtain intellectual, emotional, and political agency in an effort to affirm and remember particular contemporary and future commitments to fighting social injustices.

Date: 2020-01-01

Creator: Isabel Thomas

Access: Open access

Drawing on the plays and musicals of the 2018-2019 Broadway season, this thesis examines how theatre responds to the sociocultural, economic, and political conditions of society. Sociologists have largely overlooked theatre’s cultural influence, but Broadway productions act as social reflection by reproducing the conversations and inequalities of their context. Access to Broadway is limited, in various manners, by socioeconomic class, race, gender, ability, and age. As conversations about equity expand and audiences increasingly demand diversified representation, Broadway begins to shed the restraints of its conventions. In many regards, the recent changes fail in meaningfully transforming the Broadway institution. Those who control the stories on Broadway stages—producers, directors, writers—are disproportionately white and men, and the stories themselves predominantly uphold white privilege and heteronormativity. Economic pressures keep Broadway producers focused on high profit and cultural capital, at the expense of artistic and political risk. Broadway has particular affective power, employing the uniquely provocative effect of live theatre for unparalleled numbers of people. This influence is accompanied by responsibility to contribute to society’s progress rather than its stagnation, a responsibility which Broadway falls behind in fulfilling.