Now published/available from IndieTheaterNow:
MAGNIFICENT WASTE
by Caridad Svich
http://www.indietheaternow.com/Play/PlayDetail/285
Author: csvich21
News: Albuquerque Journal Names HOUSE Best of the Year
Albuquerque Journal
has named The Vortex Theatre production of
The House of the Spirits
by Caridad Svich
based on the novel by Isabel Allende
the Best Production of 2011!
10 Nominations for the 2011 Latin Ace Awards/Premios ACE
10 Nominations for the 2012 Latin Ace Awards/Premios ACE for
IN THE TIME OF THE BUTTERFLIES/
EN EL TIEMPO DE LAS MARIPOSAS
a play by Caridad Svich
based on the novel by Julia Alvarez
Directed by Jose Zayas
and its production at Repertorio Espanol in NYC
Best Production
Best Play: Caridad Svich
Best Director: Jose Zayas
Best Actress: Dalia Davi
Best Actor in a Character Role: Fermin Suarez
Best Actress in a Character Role: Teresa Perez-Frangie
Best Actress in a Shared/Dual Acting Role; Zulema Clares
Best Scenic Design: Robert Federico
Best Costume Design: Robert Federico
Best Sound Design: Jane Shaw
Elected as Lifetime member of Ensemble Studio Theatre
As of December, 12, 2011, Caridad Svich has been accepted for lifetime membership to Ensemble Studio Theatre in New York City.
New in Print: POPULAR FORMS FOR A RADICAL THEATRE
New from NoPassport Press
POPULAR FORMS FOR A RADICAL THEATRE
edited by Caridad Svich and Sarah Ruhl
POPULAR FORMS FOR A RADICAL THEATRE is a collection of articles and interviews edited by playwrights Caridad Svich and Sarah Ruhl exploring populism, theatre practice, and radicalism. The book includes essays by Todd London, W. David Hancock, Diane Paulus, Aleks Sierz, Will Eno, Jonathan Kalb, Michael Friedman and interviews with Eugenio Barba, Dijana Milosevic, Nina Steiger, Scott Graham, Richard Maxwell and Brian Mendes. A vital and provocative collection for students, practitioners, and scholars in theatre and performance. This volume, in part, was originally published as a special issue of Contemporary Theatre Review, and with the journal’s permission, is now available for general readership for the first time.
ISBN: 978-0-578-09809-8.
Paperback. 205pp.
Available for $20.00 print on demand at link: http://www.lulu.com/product/
Currently available on www.lulu.com,
For more information visit: www.nopassport.org
NoPassport: Dreaming the Americas
Series Editors: Jorge Huerta, Mead K. Hunter, Randy Gener, Otis Ramsey-Zoe, Stephen Squibb and Caridad Svich (founding editor)
Dec 12 reading GUAPA
soccer, grrl power, family, borderlands…beautiful…
welcome to the world of GUAPA
NoPassport invites you to a public reading of
GUAPA
a new play by Caridad Svich.
Directed by Jose Zayas
In a small Texas town, caught in the long history of class struggle & racism, live Roly, a single mother, and her makeshift family. Taken in by the family is a young woman named simply Guapa (Beautiful), who dreams of playing women’s soccer. This is a story about a working class community trying to make ends meet with magical dreams of sports, graffiti, birds in flight, indigenous history, trauma, recovery, and the viable possibilities of a better life.
Cast: Audrey Esparza, Maggie Bofill, Flor De Liz Perez, Bobby Moreno and Rey Lucas.
Dramaturg: Heather Helinsky.
MONDAY DECEMBER 12, 2011 at 3:00 PM
at Gramercy Arts Theatre,
Repertorio Espanol, 138 East 27th Street (at Lexington Avenue), NYC.
Rsvp to NoPassportPress@aol.com, Admission is free.
Facebook invite at http://www.facebook.com/event.
For more info GUAPA check out interview with the author at: http://msteketee.wordpress.
Lorca’s THE PUBLIC in translation by Caridad Svich in print
Caridad Svich’s translation of Federico Garcia Lorca’s play THE PUBLIC is published in
The Routledge Drama Anthology and Sourcebook edited by Maggie Gale and John Deeney is a groundbreaking compilation of the key movements in the history of modern theatre, from the late Nineteenth Century to contemporary performance practice.
Each of the book’s five sections comprises a selection of plays and performance texts that define their period, reproduced in full and accompanied by key theoretical writings of performers and critics that inform and contextualise their reading. Substantial introductions from experts in the field also provide these sections with an overview of the works and their significance.
This textbook provides an unprecedented collection of comprehensive resource materials which will facilitate in-depth critical analysis. It enables a dialogue between Chekhov, Strindberg, Lorca, Marinetti and Artaud, Brecht, Churchill, Fornes, Ravenhill and Gómez-Peňa, amongst many other key practitioners.
Maggie B. Gale is Chair of Drama at the University of Manchester (UK). She is the co-editor of The Cambridge Companion to the Actress; author of West End Women: Women on the London Stage 1918-1962, and J.B.Priestley from the series Routledge Modern and Contemporary Dramatists.
John F. Deeney is Lecturer at Manchester Metropolitan University (UK), Editor of Writing Live and author of the book Mark Ravenhill from the series Routledge Modern and Contemporary Dramatists.
- ISBN-13: 978-0415466066
- Publisher: Routledge (2010)
Democracy – a poem by Caridad Svich
Democracy
(November 2011)
By Caridad Svich
The swelling tide of democracy
Aches the heavy bones,
As slogans are wrought in inky black
And voices echo in tones
Of shouts long heard
And shouts rung out
Free upon the wind.
Go on, my friend,
Where ever you go.
See what lies within.
For there isn’t a now
Without ten years ago,
And without twenty before that.
Remember trickle-down economic woes
And a smiling leader’s decorous spat,
As Contras raged and lies were told
At the expense of memory’s lapse?
It was again, as perhaps it is now,
A failing, struggling land,
Where poverty reigns
In majority claims,
And where a working class
Vanishes fast.
Surrender the tide of vaulting cries
Over the reedy mast.
You’ll find o’er there
In some central square
The remnants of revolutions past.
What can be said
As shopping carts
Are thrown over stores and rails,
And land upon innocent heads
And shatter innocent veils?
It’s said that hate rises again
In crimes across the land.
In boroughs lined with empty flats
And meager little hands
That reach out with guns
And knives and lead
And an occasional smile or two,
Half-wrought in pain,
Half-sought midst blame –
Convenient wreckage,
Painted blue.
For blue is the color
Of sorrow’s mane.
Without it, we’d be doomed
To write the scores
Of many laws
Broken
By necessity’s gloom.
Occupy the streets,
The slogan rings,
While tents sway in the chilly breeze
And infants nest in strollers’ breasts
And seek solace, please.
For here we are
In autumn’s muddle,
Tangled in its thorny cocoon,
As budgets get mangled
By intelligent wranglers
Who somehow can’t add
A line item or two,
Because indebted they are
To those who’ve seduced them
And those who are said to be
Through and through.
Who are these invisible wreckers?
Which flag do they hold high?
Are you now or have you ever been…?
Is that the rallying cry?
So far are we from those shady times
When blacklists and witch-hunts
Ruined lives.
How can it be that ever yet
Our present can’t surmise
The rolling shout of those gone by
The bitter, angry wails
Of shuttered doors
And sad goodbyes
Pledged on democracy’s tails?
How swift is this
Simple word
How common it has become
Does anyone remember democracy’s name
Or is it simply better
To lie and run?
Occupy this land, we shout.
And yet is that the word we want to use?
Has it all come down to terms of war?
Can our language not help but excuse
The penchant toward battle
Invasion and other such ploys?
Can we not absent our language?
From words that seek to destroy?
Gather here, the celebrant says
In some distant church
On some distant isle.
Gather us all
For our daily bread
And let our troubles recoil
At the battles raged
In word and name,
In weapon and dagger strong.
Rest now, my brethren,
Oh sleepy children
Of revolutions
Of post-consumerism’s bile.
Oh blackened day.
Oh little wars.
Rest now, your weary heads
As once sung an ancient song
Upon a pagan’s breath.
Mourn this, oh land
In celebration
Of non-occupation
At long last.
For too many lands
Are occupied still
And who is fasting their fast?
Abated hunger
Gather at the table,
Speak now of one and many
Speak of all who borrow plenty
To simply get by.
Creditors, debtors
Join hands
In the unending cycle
That makes us all
Eternally entwined
In the lender’s library
Of some god-like design.
Pity us all
In this raging mess,
In this errant lunacy
We call success.
Pity the ones
Among us now
Who raise their hands
Without knowing how,
And whisper the strength
Of a sound beyond rage
Beyond indignance ever waged
Change is a-comin,’
Said a lone song once.
Its soulful shout still rings midst the leaves,
As pieces of paper are swept up in the digital debris.
Still waiting, we are
For change to roll by
Ever-comin’
It is
As another November
Lets out a sigh.
New in Print: KILL TO EAT (a patriot’s song) in Seven Devils Playwrights Conf.
Newly published by IndieTheaterNow:
KILL TO EAT (a patriot’s song)
in
The Seven Devils Playwrights Conference Collection
curated by Jeni Mahoney
Nov 12, 2011 ABSENCE by Victor Rascon Banda translated by Caridad Svich
6th ANNUAL
U.S. / MÉXICO
PLAYWRIGHT EXCHANGE
in collaboration with FONCA (México’s National Fund for Culture and Arts) presents
saturday, november 12, 2011 – 7pm
ABSENCE (EL AUSENTE)
by Victor Hugo Rascón Banda
translated by Caridad Svich
Directed by Barclay Goldsmith
Three generations of a Mexico City family endure the absence of a son and husband who have left for the United States. The epic journey of the migrant northward too often overshadows the stories of the loved ones left behind– this play tells their story.
Cast includes: Teresa Yenque, Mateo Gomez, Bernardo Cubria, Maria Helan Lopez.
public readings will be @ the LARK BAREBONES STUDIO
311 w 43rd street, 5th floor (btw 8th & 9th avenues)
Reservations at www.larktheatre.org
This program is a collaboration between the Lark and Conaculta/FONCA (México’s National Fund for Culture and Arts) with support from The Mexican Cultural Institute of New York, and the New York City Department of Cultural Affairs. Our official hotel sponsor: Washington Jefferson Hotel.