Sdcf Masters Of The Stage

Playwright/Director 1987: In 1987, SDCF and the Dramatists Guild jointly held a panel discussion exploring the symbiotic and complex relationship between playwright and director. Peter Stone moderates a panel of playwrights and directors including Sam Bobrick, Elizabeth Forsythe Hailey, David Henry Hwang, Bernet Kellman, Tom Moore, David Rosenak, Gene Saks, and Stephen Tobolowsky. The consensus from this riveting 90-minute discussion is that the playwright/director relationship and the process of collaborating are like a marriage, and the conversation explodes into impassioned debate about what can make a great artistic marriage. If you have ever wondered what a playwright wants from a director or vice versa, listen in as the playwrights and directors reveal their feelings. Let the marriage counseling begin! Originally recorded - January 1, 1987. Running Time - 1:29:26 © 1987 SDCF

Maximizing Your Relationship with Sound Designers: On Tuesday, December 6, 2011, SDCF hosted a conversation between sound designers Jill BC Du Boff (Good People, Bill Maher: Victory Begins at Home), Brett Jarvis (Kiki and Herb - Alive on Broadway!, The Donkey Show), and Rob Kaplowitz (Fela!, Pumpgirl) to find out how to work with designers to maximize the creativity and productivity of sound design. Designing the sound of a production is not only about finding the right sound effects or choosing the right song - it is its own art form that shapes and contributes to the emotional storytelling of the play. These three designers demystify the sound designer's role. They parse out the common misconceptions on the difference between designing for a straight play versus musical theatre. The three speak candidly and honestly about their best and worst collaborations with directors and offer tools for directors and designers to better articulate a concept for sound. The conversation answers all questions as to why so

Understanding Automation: On January 7, 2013, SDCF spoke with Production Managers/Technical Directors David Benken and Martin Pavloff about "Understanding Automation: What Every Director Should Know Before Technical Rehearsals." This is a master class on automation from two practitioners who have supervised automated lights and scenery for Broadway and touring productions including The Lion King, Magic/Bird, Woman in White, Mary Poppins, and the 2008 - 2011 touring production of Dreamgirls. Pavloff starts by introducing critical terminology, discussing the use of pre-visualization, gives reasons to automate, and iterates the challenges of automation including safety concerns. Benken follows by illuminating concepts such as of rates of movement, the subtleties of automation, the relationships between director, set designer, and technical director, and gives real-world examples to illustrate. For the producer, director, choreographer, actor, designer, or theatre fan, this conversation offers a comprehensive ove

Theatre for Social Change: On December 17, 2012, SDCF and SDC hosted a discussion of Theatre for Social Change with guests Erik Ehn and Kamilah Forbes (Hip Hop Theatre Festival) moderated by SDCF Producing Director Ellen Rusconi. Erik Ehn, a playwright, director, and educator, produces the Arts in the One World conference yearly, is Current Director of Writing for Performance at Brown University, and a founder of the RAT movement. Kamilah Forbes is the Artistic Director of the Hip-Hop Theater Festival (HHTF), a non-profit presenter of new theater written by hip-hop generation artists through the lens of the urban cultural aesthetic. She is also a member of the Folger Shakespeare performance troupe, a co-founder of the Nommo Cultural Arts Camp for under-privileged youth in Kingston, Jamaica, and a director. They share thoughts on their own work, their varied audiences, the role of equitable partnerships in their work, and how they nurture emerging artists. Listen in as these passionate artists discuss their ex

Robert Lewis: On November 2, 1987, SDCF hosted a talk by Robert Lewis, a founding member of Society of Stage Directors and Choreographers, the Group Theatre, and the Actors Studio. He speaks with great charisma and dynamism of the founding of the Group Theatre, the Actors Studio, his experiences with some of the greatest stage actors of the 20th century (including Julie Harris, John Garfield), his views on a variety of topics including the reason for the lack of theatre companies, the absence of a national theatre, and the crafts of acting and directing and underlying technique. This humorous, comprehensive and insightful talk will enlighten theatre fans, artists and producers with Lewis's view of the history, craft, and evolution of theatre around the world in the 20th century. Originally recorded - November 2, 1987. Running Time - 1:00:23 © 1987 SDCF

Effective Playwriting: On February 27, 1986, SDCF held a conversation on Effective Playwriting with Directors Stephen Porter and Howard Rossen, moderated by Playwright Stephen Fife. The jumping off point of this conversation is Somerset Maugham's quote "The purpose of prose drama is to afford delight. I do not think it can usefully concern itself with the welfare of humanity or the saving of civilization. In my opinion, what the theatre does best is to give pleasure by telling a story, delineating character, and by stirring emotions or causing laughter." Our panelists go on to discuss various aspects of plays including sentence length, scene structure, the importance of rhythm, as well as producorial aspects such as the pull between star vehicle and commercial quality and the need to challenge an audience. They frame much of their discussion by looking at The Constant Wife, and share their thoughts on why plays and writers became classics: Glengarry Glen Ross, ‘Night, Mother, Pinter, Shaw, Williams, Shaffer,

Downtown Opportunities for Directors and Choreographers: On October 1, 1998, SDCF hosted a panel on Downtown Opportunities for Directing and Choreography featuring producers from the vibrant downtown NY theatre scene including John Clancy, Ellie Covan, Kristin Marting, Wendy Rohan, Mark Russell, and David Tyree. These artistic leaders at the head of particularly prolific producing and presenting organizations discuss everything an artist or producer needs to know about working through these organizations. They explain why it is absolutely imperative to visit the space and understand the work of the organization before applying to the organization. They talk about their desire to create communities, and they shed light on the challenges of leading this type of arts organization. This conversation is valuable listening for artists, producers and administrators planning to approach or working within a smaller, vibrant, prolific organization. Originally recorded - October 1, 1998. Running Time - 1:18:29 © 1998 SD

Directing Opera: On September 25, 1996, James Graves, Associate Director of SDCF, moderated a panel about Directing Opera. Panelists included Lillian Garrett-Groag, Mark Lamos, and Rhoda Levine. With great vibrancy and humor, the panelists consider the challenges of working in foreign countries, methods to navigate working in a foreign language, and the skills and knowledge necessary for theatre artists to work in opera. Most interestingly, their backgrounds are varied: a choreographer (Ms. Levine), a musician and actor (Mr. Lamos), and a multi-lingual director immersed in opera since childhood (Ms. Garrett-Groag). They delve deeply into the Director/Conductor relationship and elucidate the reasons why this is most significant in opera. And they share the thrills of doing new work, including experience developing operas based on the books Celia, A Slave, and Haroun and the Sea of Stories. This honest and open conversation among peers is essential listening for any artist aspiring to direct opera. Originally r

Career Transitions: On November 20, 1996, SDCF in partnership with The Drama League explored the subject of Career Transitions with a panel of four Directors and Choreographers - Seth Barrish, Kathleen Marshall, Richard Sabellico, and Marlies Yearby - who had recently reached a new point in career. Listen to this discussion to discover how their transitions came about, the experiences and encounters that led these artists to new opportunities on projects with higher profiles, and the challenges to process that come with working on a larger platform. This honest and informative conversation, led by David Diamond of SDCF and Roger Danforth of The Drama League, is a great tool for those seeking to take their artistic career in a different direction or to a new level. Originally recorded - November 20, 1996. Running Time - 1:28:04 © 1996 SDCF

Directing Green: On October 1, 2012, Stage Directors and Choreographers Foundation in partnership with Broadway Green Alliance (BGA) held a conversation entitled Directing Green at the New Amsterdam Theatre in New York. Director/Choreographer John Carrafa, SDC's representative to BGA, led this discussion, which starts with Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council (NRDC), describing the state of the global environment and the critical role the entertainment industry can play in adopting better practices. He emphasizes that taking even a small step towards better practices makes a difference. After this accessible overview, some of those leading a more environmentally-friendly theatre working on Broadway in diverse fields - Lighting Designer James Bedell, Costume Designer Andrea Lauer, Scenic Designer Donyale Werle, Stage Manager Marjorie Horne, and Bob Usdin, Owner of Showman Fabricators, give insight into the ways that they are taking the environment into account without co

Intellectual Property: In 1996, the Stage Directors and Choreographers Foundation and the Drama League co-sponsored a discussion with then SDC Executive Director Barbara Hauptman, SDC Attorney Ron Shechtman, and director Pamela Berlin moderated by David Diamond about protection of intellectual property rights for stage directors. Through personal anecdotes regarding the controversial productions of Love! Valour! Compassion! originally directed by Joe Mantello and The Most Happy Fella directed by Gerald Gutierrez which set the precedent for future legal battles, the conversation illustrates the extent to which the work of a director can be protected, the methods by which the accused theaters came about the original material, the playwright's perspective on the intellectual property of a director in their own work, and the ways in which a director can protect themselves. Detailed, colorful and extremely informative, this conversation goes far beyond what the internet provides and provides valuable insight into

Developing Musicals: On July 23, 2012, Director Stafford Arima (2012 revisal of Carrie, Altar Boyz) and Director/Choreographer Christopher Windom (Central Avenue Breakdown) spoke with SDCF Producing Director Ellen Rusconi at a Director/Choreographer Network panel hosted by The New York Musical Theatre Festival discussion about developing new musicals. These two artists offer their experiences in developing musicals in a variety of ways - festivals, workshops, regional productions - and share insight into his individual process, including thoughts on what can and cannot be accomplished artistically in the fast-paced festival setting. They discuss the benefits and challenges of presenting a new work in a festival such as NYMF and how a director or choreographer can best use the boundaries of a festival to advantage. Listen to this inspiring, focused discussion to explore the ins and outs of developing new musicals today. Originally recorded - July 23, 2012. Running Time - 1:26:22  © 2012 SDCF

Critics' Perceptions of Directors' Work: On March 1, 1984 director James Furlong moderated a panel of theater critics featuring Theater Editor for Village Voice Erika Munk, Theater Critic for WNEW-TV Stewart Klein, and Theater Critic for New York Magazine John Simon. They address the impact of good and bad reviews and the dynamic relationship between theater artists and critics. The discussion includes what these particular critics perceive as good direction, the criteria they use when analyzing a director's work, and how they follow directors' careers and watch for trends. This exciting conversation opens a window into the world of theater critics and their relationship with the rest of the industry players. Originally recorded - March 1, 1984. Running Time - 1:25:33 © 1984 SDCF

Politics in the Theatre: On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre's reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community. Originally recorded - October 28, 1985. Running Time - 45:50 © 1985 SDCF

Producers Symposium 1983: On February 25, 1983, director Nola Hague moderated a panel featuring esteemed producers Nelle Nugent, T. Edward Hambleton, and Michel Stuart, and director Judith Haskell. This passionate and experienced group spoke about the collaboration between directors and producers. Drawing from personal experience they share their beliefs on qualities that constitute a good director and producer. They divulge lessons learned from experiences over the span of their careers. Other topics include the differing approaches to collaboration across the country and the director's role vs. the producer's role in the process of cultivating the creative team. This discussion delves deeply into the intricate dynamics between Producer and Director. Originally recorded - February 25, 1983. Running Time - 1:29:44 © 1983 SDCF

Artistic Directors: In 1999, SDCF hosted a panel moderated by Executive Director of SSDC, Barbara Hauptman featuring Artistic Director of Adobe Theatre Company Jeremy Dobrish, Artistic Director of Drama Dept. Theatre Company Douglas Carter Beane, Artistic Director of Blue Light Theater Company Greg Naughton, Artistic Director of Abingdon Theatre Company Jan Buttram, and Co-Artistic Director of The Barrow Group Seth Barrish. The panelists discuss the importance of the collaborative approach and sense of community within their companies, and the challenge of finding a director who shares their sense of purpose. Since directors aren't auditioned the way actors are, selecting a new director can be the hardest part of the production process. These artistic directors share their approach to finding the best new director to work with their companies. Originally recorded - January 1, 1999. Running Time - 1:08:24 © 1999 SDCF

Copyright, Fair Use, & Parody: On April 24, 2012, SDCF hosted entertainment attorney Neil Rosini, of Franklin, Weinrib, Vassallo, and Rudell, to speak about how artists can use existing work to create new work without infringing on copyright. Rosini paints a clear picture of the nature of rights under copyright. He covers reproduction, adaptation, distribution, public performance, and public display. Other topics include the infringement of copyright and the fair use defense. Rosini also covers how to test for transformativeness when working on parody. This conversation provides a thorough overview of the in's and out's of copyright law. (Mr. Rosini wishes to note that the references to CNN midway through the program should be to C-SPAN.) Originally recorded - April 24, 2012. Running Time - 1:27:26 © 2012 SDCF

One-on-One with Elizabeth LeCompte and Young Jean Lee: On Saturday, May 19, 2012, Stage Directors and Choreographers Foundation (SDCF) hosted a One-on-One Conversation at Playwrights Horizons' Peter Jay Sharp Theater with award-winning theatre makers Elizabeth LeCompte, Founding Member and Director of The Wooster Group, and Young Jean Lee, Artistic Director of Young Jean Lee's Theater Company. Moderated by Kristin Marting, Co-Founder/Artistic Director of HERE, these two highly accomplished, adventurous theatre artists talk about how they build their visionary works, the controversies they create, gender issues, critical response to their work, how they view failure, and why they believe their companies continue to thrive in the downtown, experimental theatre scene. Originally recorded - May 19, 2012. Running Time - 1:14:53 © 2012 SDCF

Adaptation Rights: On April 2, 2012, SDCF invited entertainment attorney Elliot Brown to speak about securing theatrical adaptation rights with SDCF Producing Director Ellen Rusconi. Brown gives animated examples of when adaptation rights are and are not necessary. He sheds light on how to start the process of engaging an attorney when interested in creating a piece of theater from an article, book, or film and he walks through what the concerns are of the rights-holder. Brown also speaks about standard arrangements, translation, and public domain. This is an engaging dialogue about the do's and don'ts of adaptation. Originally recorded - April 2, 2012. Running Time - 1:13:49 © 2012 SDCF

One-on-One Conversation with Taylor Mac and Lee Breuer: On May 14, 2012, SDCF hosted a One-on-One conversation at the Axis Theatre Company in New York between theatre artists Lee Breuer and Taylor Mac, hybrid theatre artists of limitless imagination and inventiveness working mostly in experimental theatre both nationally and internationally, moderated by Mark Russell, Artistic Director and Producer of the Under the Radar Festival produced by The Public Theater. These artists, who work in multiple disciplines, discuss gaining power through their individuality and originality and identify those singular artists and companies from the past, most notably Charles Ludlam and The Ridiculous Theatre, whose work has inspired and influenced their own. They express their hopes for the future or theatre, and what they gain and learn by working internationally. They share their personal definitions of success and why their work is categorized as political. This insightful conversation sheds light on how to create theatre