May 2013 News

Caridad Svich’s HIDE SKY receives a roundtable reading at the Lark Play Development Center in New York City on May 1, 2013 directed by Mia Rovegno; short play THE WAKEreceives reading at Theater Simple in Seattle, WA on May 2nd, 2013 as part of NoPassport’s Gun Control Theatre Action directed by Andrew Litzky; short play SHE receives reading with The Artists Playground Theatre at the Players, NY on May 6, 2013 as part of a Women in Theatre Celebration; SPARK receives reading at Bristol Riverside Theatre in Bristol, PA on May 20, 2013 directed by Jose Zayas. For more information: http://www.brtstage.org/category/production-type/america-risingIN THE TIME OF THE BUTTERFLIES and LOVE IN THE TIME OF CHOLERA run in rep at Repertorio Espanol in New York City, both directed by Jose Zayas. For more information: http://www.repertorio.org/productions/index.php?area=ind&id=160.


ARCHAEOLOGY OF DREAMS at UNO in Feb and March 2013

University of Nebraska-Omaha
presents the academic premiere of
ARCHAEOLOGY OF DREAMS
by Caridad Svich
February 19-23, February 28, March 2, 2013
A seriocomic, kaleidoscopic exploration of the intersection between origin, history, and memory as a child is born in the U.S. in the year 1963. A President is about to be assassinated, a country singer dies, a senator falls from grace, and two surfers look for bliss in the imagined Scottish skies.
Directed by Thais Flaitt Giannoccaro (Graduate Final Project)

ARCHEAOLOGY_1

Behind the Curtain Interview With Caridad Svich

Philip Hernandez (PH): In regards to starting out in writing, you stress the importance of continually writing and editing; “editing is a way of continually trying to discover the core of the work itself: what needs to be there.” What is the next most important thing for budding artists?

(CS): Listening to the work is the next most important thing. Really listening. Not only to others read it aloud, but speaking it out loud yourself and listening to the heartbeat of the work. Every theatre text has an essential pulse, tempo, rhythm – something essential that carries through the various dynamics at work over the course of a play. This is why many people say “What is a play about?” I don’t think the question has to do with a “message” or “issue.” The “about” has to do with its heartbeat – where does the piece want to go, where does it want to touch the audience and how (if it does) sensually? Theatre is about the senses being awakened as much as it is about the perceptual shift(s) mentally that being open to a three-dimensional event in space demands from an audience..

 

Read the full interview