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MXTW 2013 Program

MXTW 2013 Program

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Published by Ashley Flinn
Manhattan Experimental Theater Workshop 2013
dreaming in flames : theater
presents Prometheus
Manhattan Experimental Theater Workshop 2013
dreaming in flames : theater
presents Prometheus

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Categories:Topics, Art & Design
Published by: Ashley Flinn on Jun 23, 2013
Copyright:Attribution Non-commercial


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The Manhattan Arts Centerpresents
burst into fames, laugh like children
written and perormed by the whole companyunder the infuence o Peter Handkedirected by the directing team
Playing with Fire
written and perormed by Amanda, Emma, Louisa, Katie, Matthewunder the infuence o Laurie Carlosdirected by Chad & Hunter
Pandora’s Balls, or the Contemplation o Emotion Insideand Outside o the Box
written and perormed by Alex, Alice, Da’Merius, Lydia, Macyunder the infuence o Bertolt Brechtdirected by Chad & Laura
The Mortals
written and perormed by Bailey, Cherokee, Dakota, Mirandaunder the infuence o Harry Kondoleondirected by Gwethalyn & Hunter
mighty BOOTS, & cats
written and perormed by Cecilia, Jakob, Joy, Lauren, Rianunder the infuence o Tristan Tzara & the Dadaistsdirected by Gwethalyn & Jim
Prometheus Bound
written and perormed by Annie, Faith, Kayla, Kendra, Maryunder the infuence o Jerzy Grotowskidirected by Flinn & Gwethalyn
A Little Viscera
written and perormed by the whole companyunder the infuence o Jean Cocteaudirected by the directing team
Gwethalyn Williams
Jim Hamilton
assistant directors
Ashley FlinnJim HamiltonChad HodgeLaura ReaganHunter Rose
lights + sound
Hannah AtchisonAvery FowlesMercedes Santiago
lighting consultant
Tyler Corsault 
graphic design
Ashley Flinn
Ashley Flinn
Megan ClarkAshley Flinn
Mathew AdamesJakob BorgenAlex BraseAlice DavidsonKatie DixonLauren FischerDa’Merius FordLouisa FriedrichEmma GalitzerMiranda HairgroveCherokee HaydenFaith JanickiMacy LancetaBailey LondonMary MatthewsKayla McClintockLydia ParishAmanda PettayCecilia Potts-MooreDakota SantiagoAnneliese SpenceJoy SpickelmierKendra TruittRian Winter
bird returns every morning to devour the liver. Prometheus, though he knowsthe tortuous uture that awaits him, accepts his ate, and does not reveal theprophecy to Zeus.In Aeschylus’
Prometheus Bound
, while Prometheus is on the rock Io, who hasbeen turned into a cow by Zeus and set upon by gadies by Hera so that she ischased all over the world, happens by. Prometheus tells Io o where she must goto nally get relie rom her tortures and tells her that the many places she passesthrough on her journey or relie will be named ater her.
Peter Handke: Austrian, 1949-present
ocus more on language and sound than on the stagepicture. They are largely non-narrative and lack dened characters. Instead,language is presented in a owing ormat using simple and powerul sentences.As audiences listen to the sentences as intently as Handke intends (through hisexperiments in sound), what appear initially to be simple explorations o grammaror mere sound, oten become very pointed statements about the nature o societyand reality. In
burst into ames, laugh like children
, we use Handke’s techniquesto explore our own relation to the work we have done and to allow you to exploreyour relation to your own expectations and to our actual work.
Laurie Carlos: American, 1949-present
In the play
White Chocolate or My Father 
, Carlos explores the diasporic historybetween her great-great grandmother who was buried neck high on the shores o Arica to her mother in America, who was incapable o helping her as a result o thesame colonization and violence. In her play she uses rhythm, song, and gestures togive voice to the childhood trauma she experienced as a result o these perpetuatedcycles o violence. Though Carlos’ play is autobiographical, the students in theCarlos group drew rom the story o Prometheus and Pandora to explore what kindso lessons we may be taught as children about curiosity and helping one anotherthat, in their own way, perpetuate a orm o violence.
Bertolt Brecht: German, 1889-1956
There are ew areas o modern theatrical culture that have not elt the impactor inuence o Brecht’s ideas and practices. Brecht tried to always provoke hisaudience to think critically, instead o identiying with emotions or characters onstage. One o Brecht’s most important principles was the
,deamiliarization eect, “stripping the event o its sel-evident, amiliar, obviousquality and creating a sense o astonishment and curiosity”. This piece takes aterThe Elephant Cal, in that it eatures a arcical judicial system in which power playsovercome logic.a “git”: beauty, grace, ne clothes;but also unquenchable curiosity anddeceitulness, so she would always betrouble or man. The gods named herPandora, or “git to all”. Zeus oeredPandora to Epimetheus as a wie, andEpimetheus accepted her, despitePrometheus’ warning to not accept anygits rom Zeus. The gods also gaveto Epimetheus and Pandora a large jar(later mistranslated as box), and askedthem to hold onto it or saekeeping.Beore long, Pandora heard whisperscoming rom the jar. One day, when shecould resist her gods-given curiosity nolonger, she opened the jar, and out o the jar escaped Sickness, Pain, Suering,and all the bad things which haveplagued mankind ever since. Only onething remained in the jar by the time shemanaged to put the lid back on: Hope.Ever since, man has had to toil or breadto survive and suers the duration o histime on earth.In some versions o the story, manbecomes increasingly evil with eachgeneration and Zeus chooses to destroyall mankind in a ood. Only Pyrrah(Prometheus’ daughter) and Decucalion(Epimetheus’ son) survive the ood.They win the avor o Zeus becausethey are pious, and thereore survive torepopulate the earth.For Prometheus’ punishment, Zeusorders Hephaestus to bind him to arock. While bound, Prometheus revealsthat he has seen Zeus’s successor. Zeussends Hermes to demand Prometheusreveal the mother o the son who willoverthrow him. However, Prometheusreuses, and in retaliation Zeus sends abird o prey (a vulture or eagle dependingon the version) to eat Prometheus’ liver.Since Prometheus is an immortal, hisliver regrows during the night, and the
In Greek mythology, it has been writtenthat the brother Titans Prometheus,“orethought”, and Epimetheus,“aterthought”, were tasked withcreating all the creatures on the Earth.Epimetheus rashly gave all the best traitsto the other animals, so when the timecame to create man, having no othergits let, Prometheus ormed him romclay in the image o the gods.There are two stories concerningPrometheus’ trickery o Zeus andthe wrath that ollowed. In the earlydays, man was immortal and all wasprovided or man by the gods. However,Prometheus thought man, being madein the image o the gods, deserved tohave the power o re, which the godsselshly kept or themselves. Prometheusplaced re in a ennel stalk, hid it in hisbosom, and took it to man. Zeus soonperceived an unusual light on the Earthand discovered the thet. In someversions, Prometheus’ thet o resymbolizes his gits o learning,mathematics, and technology.The second trick occurred during therst sacrice to the gods. Prometheusslaughtered an ox and made two dierentoerings. One contained all the best cuts,hidden under skin and entrails. The otherwas all the bones and other unsavorybits, but was wrapped in glisteningat. He then asked Zeus which one hepreerred and Zeus chose the portionthat looked best: the one covered withat. Thereater, only bones and at wereburned on altars dedicated to Zeus, andman kept the better portions.Ater being tricked twice, Zeus vowed topunish both mankind and Prometheus.As mankind’s punishment, Zeusordered all the gods to create therst woman. Each god also gave her

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