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  • Sophocles Program With ArtsPR.

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    Daniel P Quinn
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    . Ellen Lanese as THE WOMEN OF TRACHIS via DVD. We are seeking bvenues for this program excerpt of Sophocles' rarely performed masterpiece. Our program features Daniel P Quinn as guide and director. Designs by Jennifer Long that debuted Off-Broadway, on Theatre Row, Foundation Theatre and in NOHO,. Ellen Lanese recently appeared in NYC as Vera in Relativity at the 45th St. Theatre. Prior New York stage appearances included The Women of Trachis, Harold Clurman Theatre; The Fool, South Street Theatre; Derek , Mitzi Newhouse Theatre; William's Last Chance with Third Avenue Productions at the Blue Heron Theatre; Sacco and Vanzetti with the New Stagecraft Company. Regional credits include Lina in Shaw's Misalliance, Jennie in Neil Simon's Chapter Two, Hedda Gabler (title role), Desiree in A Little Night Music, as well as All Over, Tartuffe, Who's Afraid of Virginia Woolf? , The Glass Menagerie, The Seagull, Twelfth Night, Our Town, The Little Foxes, Uncommon Women and Others, The Oresteia, The Rainmaker, and Pinter's The Birthday Party. Member of Actors' Equity, the Screen Actors Guild, and AFTRA. Director: Daniel P Quinn, Member, Society of Stage Directors, NYC. WINTER/SPRING 2009 / VOL. 9 ISSUE 1 *Poet/Producer Quinn Takes the Long View* > > *By Megan Mueller* > > Daniel Quinn loves his life as a poet as well as his various roles in > theater, despite the struggles they entail. He points out that "it's a > bumpy life. It's very hard. It takes tremendous effort and determination to raise money and to get things done well, it's a miracle. It's > hard to accomplish but it's amazing to look back and see that it's happened in front of your own eyes." > He continued to work with theater through high school, where he first > encountered the work of Edward Bond, an English playwright who helped to abolish censorship in England. Bond changed the way Quinn viewed theater. > "When I was in high school I was studying his work, and it was just a > matter of him of him having imagination beyond the conventional. An epic > vision of drama. His work was expansive." > > His undergraduate years of college were spent at Ramapo College of New > Jersey where he got a degrees in Literature and Fine Arts. Quinn attended > graduate school at The American University in Washington D.C. In college, > he spent three years reading plays, providing a summary and analysis. He > read 20 plays a month and was unpaid for the first two years. The third > year, he received only $3 a play. > > The work was "laborious and emotionally draining" as few plays were worth > producing. Part of the issue was that American writers didn't see a > difference between television and the stage. Quinn states that "we think > that television is now theater, and it's not. We've managed to diminish > theater into a TV-like situation where it is realistic and conventional. > Theater is beyond that dimension. We've reduced our technique and our > vision." > > He debuted as an actor at La MaMa Experimental Theatre, but despite his > enjoyment of being on stage, Quinn prefers to produce or direct plays. > Producing and directing allows him to "expose the public to work they > wouldn't see otherwise and broaden people's emotional and artistic > perspectives." > > One of his more memorable productions was *Sacco and Vanzetti*, which is based on the case of two Italian immigrants who were known anarchists, who were charged and possibly falsely convicted of murder, then put to death. > Quinn produced it five times over 14 years in a variety of venues, su

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    . Ellen Lanese as THE WOMEN OF TRACHIS via DVD. We are seeking bvenues for this program excerpt of Sophocles' rarely performed masterpiece. Our program features Daniel P Quinn as guide and director. Designs by Jennifer Long that debuted Off-Broadway, on Theatre Row, Foundation Theatre and in NOHO,. Ellen Lanese recently appeared in NYC as Vera in Relativity at the 45th St. Theatre. Prior New York stage appearances included The Women of Trachis, Harold Clurman Theatre; The Fool, South Street Theatre; Derek , Mitzi Newhouse Theatre; William's Last Chance with Third Avenue Productions at the Blue Heron Theatre; Sacco and Vanzetti with the New Stagecraft Company. Regional credits include Lina in Shaw's Misalliance, Jennie in Neil Simon's Chapter Two, Hedda Gabler (title role), Desiree in A Little Night Music, as well as All Over, Tartuffe, Who's Afraid of Virginia Woolf? , The Glass Menagerie, The Seagull, Twelfth Night, Our Town, The Little Foxes, Uncommon Women and Others, The Oresteia, The Rainmaker, and Pinter's The Birthday Party. Member of Actors' Equity, the Screen Actors Guild, and AFTRA. Director: Daniel P Quinn, Member, Society of Stage Directors, NYC. WINTER/SPRING 2009 / VOL. 9 ISSUE 1 *Poet/Producer Quinn Takes the Long View* > > *By Megan Mueller* > > Daniel Quinn loves his life as a poet as well as his various roles in > theater, despite the struggles they entail. He points out that "it's a > bumpy life. It's very hard. It takes tremendous effort and determination to raise money and to get things done well, it's a miracle. It's > hard to accomplish but it's amazing to look back and see that it's happened in front of your own eyes." > He continued to work with theater through high school, where he first > encountered the work of Edward Bond, an English playwright who helped to abolish censorship in England. Bond changed the way Quinn viewed theater. > "When I was in high school I was studying his work, and it was just a > matter of him of him having imagination beyond the conventional. An epic > vision of drama. His work was expansive." > > His undergraduate years of college were spent at Ramapo College of New > Jersey where he got a degrees in Literature and Fine Arts. Quinn attended > graduate school at The American University in Washington D.C. In college, > he spent three years reading plays, providing a summary and analysis. He > read 20 plays a month and was unpaid for the first two years. The third > year, he received only $3 a play. > > The work was "laborious and emotionally draining" as few plays were worth > producing. Part of the issue was that American writers didn't see a > difference between television and the stage. Quinn states that "we think > that television is now theater, and it's not. We've managed to diminish > theater into a TV-like situation where it is realistic and conventional. > Theater is beyond that dimension. We've reduced our technique and our > vision." > > He debuted as an actor at La MaMa Experimental Theatre, but despite his > enjoyment of being on stage, Quinn prefers to produce or direct plays. > Producing and directing allows him to "expose the public to work they > wouldn't see otherwise and broaden people's emotional and artistic > perspectives." > > One of his more memorable productions was *Sacco and Vanzetti*, which is based on the case of two Italian immigrants who were known anarchists, who were charged and possibly falsely convicted of murder, then put to death. > Quinn produced it five times over 14 years in a variety of venues, su

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as TXT, PDF, TXT or read online from Scribd
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    82 views4 pages

    Sophocles Program With ArtsPR.

    Uploaded by

    Daniel P Quinn
    . Ellen Lanese as THE WOMEN OF TRACHIS via DVD. We are seeking bvenues for this program excerpt of Sophocles' rarely performed masterpiece. Our program features Daniel P Quinn as guide and director. Designs by Jennifer Long that debuted Off-Broadway, on Theatre Row, Foundation Theatre and in NOHO,. Ellen Lanese recently appeared in NYC as Vera in Relativity at the 45th St. Theatre. Prior New York stage appearances included The Women of Trachis, Harold Clurman Theatre; The Fool, South Street Theatre; Derek , Mitzi Newhouse Theatre; William's Last Chance with Third Avenue Productions at the Blue Heron Theatre; Sacco and Vanzetti with the New Stagecraft Company. Regional credits include Lina in Shaw's Misalliance, Jennie in Neil Simon's Chapter Two, Hedda Gabler (title role), Desiree in A Little Night Music, as well as All Over, Tartuffe, Who's Afraid of Virginia Woolf? , The Glass Menagerie, The Seagull, Twelfth Night, Our Town, The Little Foxes, Uncommon Women and Others, The Oresteia, The Rainmaker, and Pinter's The Birthday Party. Member of Actors' Equity, the Screen Actors Guild, and AFTRA. Director: Daniel P Quinn, Member, Society of Stage Directors, NYC. WINTER/SPRING 2009 / VOL. 9 ISSUE 1 *Poet/Producer Quinn Takes the Long View* > > *By Megan Mueller* > > Daniel Quinn loves his life as a poet as well as his various roles in > theater, despite the struggles they entail. He points out that "it's a > bumpy life. It's very hard. It takes tremendous effort and determination to raise money and to get things done well, it's a miracle. It's > hard to accomplish but it's amazing to look back and see that it's happened in front of your own eyes." > He continued to work with theater through high school, where he first > encountered the work of Edward Bond, an English playwright who helped to abolish censorship in England. Bond changed the way Quinn viewed theater. > "When I was in high school I was studying his work, and it was just a > matter of him of him having imagination beyond the conventional. An epic > vision of drama. His work was expansive." > > His undergraduate years of college were spent at Ramapo College of New > Jersey where he got a degrees in Literature and Fine Arts. Quinn attended > graduate school at The American University in Washington D.C. In college, > he spent three years reading plays, providing a summary and analysis. He > read 20 plays a month and was unpaid for the first two years. The third > year, he received only $3 a play. > > The work was "laborious and emotionally draining" as few plays were worth > producing. Part of the issue was that American writers didn't see a > difference between television and the stage. Quinn states that "we think > that television is now theater, and it's not. We've managed to diminish > theater into a TV-like situation where it is realistic and conventional. > Theater is beyond that dimension. We've reduced our technique and our > vision." > > He debuted as an actor at La MaMa Experimental Theatre, but despite his > enjoyment of being on stage, Quinn prefers to produce or direct plays. > Producing and directing allows him to "expose the public to work they > wouldn't see otherwise and broaden people's emotional and artistic > perspectives." > > One of his more memorable productions was *Sacco and Vanzetti*, which is based on the case of two Italian immigrants who were known anarchists, who were charged and possibly falsely convicted of murder, then put to death. > Quinn produced it five times over 14 years in a variety of venues, su

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    SACCO & VANZETTI program for 1/19/12. ArtsPRunlimited, Inc., announces a special program focused on the SACCO & VANZET TI case from 1920-27, and a look at labor history and the ongoing issues of discrimination and justic e in the USA. ...

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    Daniel P Quinn More details for this NYC event will be announced soon. Like Sunday at 10:09pm

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