GLOBAL PLAYWRITING CONTEST 2015

Philippine Center of the International Theatre Institute (ITI) is sponsoring a Global Playwriting Contest 2015 on Confronting Climate Change and Defying Disasters. Everyone is eligible to enter: "We cannot resolve party unless we address the global warming Armageddon." The project is a contribution for the commemoration of the   70th anniversary of UNESCO It has been conceived to demonstrate the immense value of a cultural communications ingredient as a force for education in popularizing scientific data in symbols people can understand and relate to as well as provide a conscienticizing platform to help forge the collective will for the crucial global deal in Paris.to prevent the irreversible threshold of 2°degree centigrade of devastation. 

Here are the rules of the contest:

1.     Everyone is eligible to join the “Global Playwriting Contest 2015 on Confronting Climate Change and Defying Disasters”. We cannot resolve party unless we address the global warming Armageddon.

2.     Each entry must focus on the theme of climate change linked to promoting a mindset for disaster prevention and reduction. A short paragraph should be appended to the entry, identifying and describing the climate change issue including m portrait of generating the will to build disaster risk reduction mindset and resilience in communities that is tackled in the play.   There are many evident happenings throughout the world as a rich resource for entries to have a reality based experience for dramatic compelling storytelling with lessons learned to gain a safer healthier sustainable future for our children

3.     The term “climate change” is defined the way it is defined in Article 1 of the United Nations Framework Convention on Climate Change (UNFCC), namely, change of climate which is attributed directly or indirectly to human activity that alters the composition of the global atmosphere and which is in addition to natural climate variability observed over comparable time periods.” As explained by UNESCO, “Carbon dioxide and other gases in Earth’s atmosphere act like a greenhouse moderating the temperatures we experience. These warm the surface of the planet naturally by trapping solar heat in the atmosphere. This is a good thing because it keeps our planet habitable. However, by burning fossil fuels such as coal, gas and oil and clearing forests we have dramatically increased the amount of carbon dioxide in Earth’s atmosphere and temperatures are rising.”  The UN 3rd Conference on Disaster Reduction was just held in Sendai. The declaration and results of the inclusive management concerns and building of resilient cities are accessible in the UNISDR web.  Likewise, the web notes of UNESCO on education for sustainable development will be interesting briefers for participants. Other sources are UNEP and IPCC. 

4.     Each play may be written by one or more playwrights. In case there is more than one playwright, a written statement signed by each contributing playwright should accompany the entry, certifying that each playwright will get an equal share of the cash award, if the play wins.

5.     The title of the play, the name/s and contact information (email address, mobile phone number, and mailing address) of the playwright or playwrights, and the estimated playing time on stage should be indicated on the first page of each entry. A scanned copy of the contestant’s passport or other identification card (containing name and address) should accompany the entry; in case there are two or more playwrights, scanned copies of their passports or identification cards should be attached.

6.     Each play should run for at least 30 minutes but not more than 45 minutes without intermission on a stage. There is no limitation on the type of stage to be used. If it will not be a proscenium stage, there should be an indication in the page that describes the setting of the play.  The drama can integrate lyrics if there is music composition required. It can also include in the stage instructions if mixed media is used, the necessary visuals desired.

7.     There will be one (1) prize for the best play focusing on defying disasters. The prize of Five Thousand US Dollars (USD 5,000.00) will be given by the United Nations International Strategy for Disaster Reduction (UNISDRR) headed by Dr. Margaret Wahlstrom, the special representative, of Secretary-General Ban ki moon.

8.     The criteria for choosing the winning play are: 50% quality of writing and 50% accuracy and effectiveness of the twin message of confronting climate change and generating resilient and disaster prepared communities.

The winning play will be given to every member country of the United Nations, for staging on stage or adaptation to radio, television, and/or film through the mechanism of dissemination of information via the UNESCO National Commissions through the cooperation of the office of the UNESCO Director-General, Dr. Irina Bokova. It will be accessible for replication through the network of UNESCO associated schools and the UNESCO Assembly of Goodwill Ambassadors and Artists for Peace.

10.  The copyright to the winning entry will remain with the playwright or playwrights. The project is organized through the Philippine center of the international theatre institute and ITI-CIDC Social Action Network and the Earthsavers-UNESCO Artist for Peace under the direction of Cecile Guidote-Alvarez.

11.  Notwithstanding Rule 10, the playwright or playwrights will allow the International Theatre Institute (ITI) to stage the play (live on stage) for one performance each in each United Nations member country without payment of royalties. The playwright or playwrights will allow the staging and or dramatic reading of the play at a United Nations and/or UNESCO event without payment of royalties. The playwright or playwrights will allow ITI Philippines to premiere the play on radio with live Web streaming, without payment of royalties, in Filipino translation. Subsequent performances, as well as radio, television, and film productions, have to pay royalties to the playwright or playwrights. Similarly, all translation rights belong to the playwright or playwrights and any translation into languages other than that or those of the original play needs explicit written permission from the playwright or playwrights to be done, except in the case of ITI Philippines, as provided above.

12.  Each entry can be written in any language or combination of languages, but plays not in English should be accompanied by an English translation of the entire text.

13.  Each entry (in pdf form) must be received on or before noon of 30 August 2015 (Manila TimeS) by email to isaganicruz@gmail.com. ITI Philippines Secretary General or by postal service stamped august 30 . Send to: 

     ITI-Earthsavers UNESCO DREAM Center

     Gotesco Twin Towers B, Unit 1203

     Natividad Lopez St. ,Ermita 

     Manila, Philippines

14.  The project is a contribution for the commemoration of the   70th anniversary of UNESCO It has been conceived to demonstrate the immense value of a cultural communications ingredient as a force for education in popularizing scientific data in symbols people can understand and relate to as well as provide a conscienticizing platform to help forge the collective will for the crucial global deal in Paris.to prevent the irreversible threshold of 2°degree centigrade of devastation. It is  also meant to call attention  on the dynamic possibilities of applying effectively an arts based psycho social  therapy to heal trauma of victims and refugees of disaster as part of recovery and reconstruction efforts to address the mental health of survivors.  It aims to harness a creative army of artists concerned to help confront the global challenge of survival of mankind and Mother Earth.

15.  The winner will be announced on October 15, 2015.   Dramatic reading of the winning play is being arranged through the UNFCCC secretariat headed by Ms.  Christiana Figueres, at a  side event exhibit in COP21 as part of a continuing Tri-Continental  South-South Intercultural Interfaith Dialogue on Defying Disasters. Co-convened by the Philippines, Colombia and Kenya coordinated through the Earthsavers UNESCO DREAM Center, Ocean Security International and Climate Institute.

16.  The awards will be given in appropriate ceremonies at a proposed side event at COP21. If not in the home country of the winning playwright or, in the case of several playwrights, in the home country of the first playwright listed on the title page of the play.

17.  The decision of the board of judges is final and unappealable.

18.  The board of judges is composed of Isagani R. Cruz of ITI Philippines (chair), a representative of ITI Director-General or president through the International Playwrights Forum (IPF), The board of judges for content consultation and dissemination of rules will be assisted by UNESCO, UNEP, the United Nations Office for Disaster Risk Reduction (UNISDR), and the Office of Commissioner Heherson Alvarez of the Philippine Climate Change Commission. 

6 Questions: Elia K. Schneider

Elia K. Scheider

Director/Writer and Teatro Dramma founder Elia K. Schneider's production, Judgment on a Gray Beach, will run at The Ellen Stewart Theatre March 6th - 15th. Elia is known for hauntingly visual productions that transcend language with strong imagery and a dreamlike fresco of movement and design. Partially inspired by the work of Franz Kafka, her new production explores themes of exile and totalitarianism.

1. Why are you drawn to Kafka as a point of inspiration?
He was a visionary capable of observing the inner worlds of human beings and he understood how those inner world effect their actions. He wasn’t afraid to enter the obscure and deep labyrinths which are inside people. He understood their flaws and never judged them. I share these truths in my everyday life. They are, to me, unquestionable truths.

2. How has directing and producing films influenced your work in theatre?
For me theatre is the experience of searching for the truth and turning it into something beautiful that is expressed so other's can share the experience of that truth. This concept has influenced my life and my ideas about cinema. In a movie, what I’m most interested in is having the freedom to create it and in that freedom finding the permission to express myself. But in filmmaking this is, largely, not the reality of the process. That is why it is not understood why I do it.

3. What has been the most challenging aspect of developing this show?
To draw with passion on a page that starts blank, and to not lose that passion in spite of the obstacles which inevitably arise. To allow these drawings, the scenes, to have a structure that expresses the needs of a specific author and his characters in a world chained by fear and the power that creates that fear. On the Gray Beach [where the show takes place] it doesn’t matter who makes the laws or who enforces them, they simply must be obeyed. All the characters on this beach do not talk, they do not communicate, question anything or reveal what they feel. They are like robots, used to a kind of living death, but sometimes they do feel things and wonder about the possibility of exiting their world. They do not know that exit is impossible.

4. Do you find your work is received differently in different countries? 
An artistic world always has various parts. One is its center, its essence. Feelings like fury, hopelessness, solitude, desire and passion, are the same for any human being. Another part is context, for example if I present a play in Venezuela, where the government is authoritative and where human rights are routinely breached, this play will be much more powerful than in Sweden where there is a less autocratic government and more freedom of speech.

5. What do you hope the audience comes away with?

I have no hope for the spectator. I don’t want to give them a lesson or “give them a message.” Some people will be engaged and share fully in the moments of the play, others will try to sneak out in the middle. Either way, the play is alive on the set and in the theatre. People will be connecting and disconnecting at various moments, just like in life. For me that is important to reflect on.

6. What does working at La MaMa mean to you?
Ellen Stewart, who I will always consider my mentor, was one of the most influential people in my life - she influenced my vision of the world. For me to keep bringing my work to La MaMa and her stage is both an honor and a way to say thank you.

La MaMa presents
Teatro Dramma's

Judgement 
on a 
Gray Beach

written and directed by Elia K. Schneider

March 6 through March 15, 2015 

The Ellen Stewart Theatre
66 East 4th Street
(between Bowery and Second Avenue)
New York, NY 10003

Tickets: $25 Adults; $20 Students/Seniors; ten tickets priced at $10 each are available, in advance only, as part of La MaMa's 10@$10 ticketing initiative. 10@$10 tickets are available via web, phone or at the box office, in advance only, and are not available day-of-show. 

For tickets and info: CLICK HERE

#mamaearth video project

In conjunction with TEMPEST 3: The Tide Is Rising and the La MaMa Earth Season, we have launched the #mamaearth video project to spotlight how environmental and social justice issues are both local and global and how these issues are all interconnected. 

Beginning with the three companies involved with TEMPEST 3 from the US, Korea and Italy, we are inviting everyone to create 30 - 60 second videos that put a spotlight on local issues in their community and upload them to social media with the hashtag: #mamaearth. 

The first of the #mamaearth videos can be seen: HERE

Fall 2014 @ La MaMa: LA MAMA EARTH

We are so happy to announce that the 2014-2015 season at La MaMa will be called LA MAMA EARTH and will focus on climate change, environmental and social issues.

The LA MAMA EARTH theme materialized as a result of the up-close and personal impact that individuals and entire communities experienced from the widespread devastation of Hurricane Sandy in 2012. Articstic Director Mia Yoo said: “When former Mayor Bloomberg responded to a reporter's question at a press conference with the simple statement, 'The tide is rising,' it struck such a chord with me. La MaMa is honored to have the opportunity to present an American, Korean and Italian production of Shakespeare's bracing play, THE TEMPEST – each of which brings a unique cultural perspective to the environmental and social crises we all face.”

The centerpiece of LA MAMA EARTH will be three diverse, international productions of William Shakepeare's THE TEMPEST – productions of the play from the U.S., Korea and Italy. The trio of TEMPESTS will be presented under the collective title Tempest 3: The Tide is Rising and is comprised of the following: THE TEMPEST directed by Karin Coonrod with original music by Elizabeth Swados; Korea's Mokwha Repertory Company production of THE TEMPEST and NELLA TEMPESTA by Italy’s Motus Theatre. 

Tempest 3 Packages available: See all three TEMPEST productions for only $60, if purchased before September 15th ($100 value if purchased separately).  Click Here to purchase a 3-show package!

The 2014 Fall Season Line-Up:

September 25-October 12
SELMA '65
This world-premiere is set for the 50th anniversary of the Selma Voting March. Written by Catherine Filloux (KILLING THE BOSS, LEMKIN'S HOUSE), who returns to La MaMa, SELMA '65 is based on the real-life story of Viola Liuzzo, a white civil rights activist who was targeted by the FBI and Ku Klux Klan for her efforts on behalf of African-Americans protesting for the right to vote. The play stars Marietta Hedges and is directed by Eleanor Holdridge. 
The First Floor Theatre
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here

September 26-28
QUEER NY INTERNATIONAL ARTS FESTIVAL
Curated by Zvonimir Dubrovic and Nicky Paraiso, the QUEER NY INTERNATIONAL ARTS FESTIVAL festival features contemporary performance and visual art that explores and broadens the traditional concept of “queer” in art. Featured will be DUOS with Darkmatter, Untitled Queen and Merrie Cherry, Jack Waters and Peter Cramer.
The Club @ La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here

October 2-November 2 
TEMPEST
The world-premiere of a new musical adaptation of THE TEMPEST, adapted and directed by Karin Coonrod, with music by La MaMa veteran composer Elizabeth Swados (LA MAMA CANTATA). The international and intergenerational cast will feature Reg. E. Cathay (The Wire and House of Cards) as Prospero, and the 14-year-old star of Broadway's BILLY ELLIOT, Joseph Harrington as Ariel. Director Coonrod notes similarities between Prospero's world and ours today, noting, “Prospero re-enacts power games on an island – just as Manhattan is an island – and it is the non-human Ariel is fascinated by humanity's power to love and reminds Prospero of his humanity. The play demonstrates a juxtaposition of time present and timelessness – hence, we will begin the play with a pendulum swinging: a signal of impending disaster and a reminder of time moving forward. A warning.” 
The Ellen Stewart Theatre.
66 East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here

October 2-19 
THE ELEPHANT IN EVERY ROOM I ENTER
April 2014. Gardiner Comfort attends the Tourette Syndrome Association National Conference. Using an erratic and energetic performance style, and evocative details of his week in DC, Comfort shares his life as an actor with Tourette Syndrome. Created by Comfort and his frequent collaborator, Kel Haney (You're Not Tough: HERE, Dixon Place)
The Club @ La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here


October 16-November 2
AdA: AUTHORS DIRECTING AUTHORS
Playwrights Neil LaBute and Marco Calvani – who teamed to considerable success two years ago at La MaMa to present AdA: AUTHORS DIRECTING AUTHORS return this year with the addition of fellow playwright Nathalie Fillion to present a triptych of one act plays centering on the theme of desire. In this newest version of AdA, each author will write a new one-act play to be directed by one of the other authors, and all characters will be played by the same three actors.  
The First Floor Theatre.  
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

October 24-November 2
THE DREAM VAULT CYCLE
Amulti-media performances exploring the evolution of a creative idea and the interpretation of its seed value as it journeys from art form to art form, conceived & directed by Christian De Gré & R. Patrick Alberty. 
The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!


November 6-23
WHAT TAMMY NEEDS TO KNOW 
ABOUT GETTING OLD AND HAVING SEX:
The Concert Tour
Conceived and Directed by Lois Weaver, SPLIT BRITCHES’ newest work has Lois Weaver's alter ego, Tammy WhyNot, a trailer park survivor who gave up a career in country music to become a lesbian performance artist, grapples with the difficult subjects of sex and ageing. This concert performance with songs written and performed by Tammy alongside her back-up singers and dancers with guest appearances by Peggy Shaw and Bette Bourne from the Bloolips. 
The First Floor Theatre
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!


November 7-16
DEAD END, DUMMY
A new work by Dick Zigun, the Founder & Artistic Director of Coney Island USA since 1980. Inventor of the Mermaid Parade & godfather of burlesque & sideshow revivals, he is a tattooed author of a dozen weird American plays, the performance artist known as the Mayor of Coney Island, and a legal New York State marriage officiant. 
The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

November 20-23 
THE TEMPEST/Mokwha Repertory Company 
The U.S. premiere of Seoul, Korea's Mokwha Repertory Company production of THE TEMPEST, adapted and directed by Tae-Suk Oh. Inspired by a true story from the Korean CHRONICLES OF THE THREE KINGDOMS, this TEMPEST is set in 5th century Korea and infuses Shakespeare's text with elements of traditional Korean folklore. With music played on Korean instruments and performed in richly layered costumes, this mind-bending production explores acts of nature as they are affected by acts of betrayal, love, forgiveness and reconciliation. 
The Ellen Stewart Theatre
66 East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here

November 21-30 
A RIGHT PAIR 
Bette Bourne and Paul Shaw (of Bloolips) have been partners both offstage and on since the late 1970s. This new performance explores some of their favorite scenes, some obscure gems and some things completely new and what it means to be 'A Right Pair' onstage and off. US Premiere. 
The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

November 27-30
KING OF HEARTS IS OFF AGAIN 
Performed by the Studium Teatralne, an ensemble theatre in the tradition of Jerzy Grotwoski, based in Warsaw, Poland. Directed by Piotr Borowski – himself a longtime student of Grotwoski – KING OF HEARTS IS OFF AGAIN  is based on a novel by Hann Krall, a true story about the life of Izolda Regenberg, a young Jewish woman who lived disguised as an Aryan Polish woman in order to rescue her family, trapped in the Warsaw ghetto during World War II.  
The First Floor Theatre
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

December 4-7
THE SEAGULL
Chekhov's play presented by the Serbian National Thatre, directed by Tomi Janezic. Described by international critics as a 'theatrical phenomenon,' this 7-hour production began in 2012 and has become one of the most successful productions in the history of SNT, which dates back to 1861.  
The Ellen Stewart Theatre
66 East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

December 4-21
IF COLORADO HAD AN OCEAN
A new play by Mike Gorman, directed by David Bennet and performed by The Forty Hour Club. A poetic drama, OCEAN explores the punk roots of a commercial fisherman and his yearning for an imaginary place. With its rebellious rock and roll spirit, this play is the high energy finale of Mr. Gorman's trilogy THE HONOR AND GLORY OF WHALING.  
The First Floor Theatre
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

December 5-14
A CHRISTMAS CAROL, 
OY HANUKKAH, 
MERRY KWANZAA 
An adaptation of Charles Dickens' classic “with old world accents and new world inclusiveness” by the Czechoslovak-American Marionette Theatre.  
The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

December 11-21 
NELLA TEMPESTA/Motus Theatre
The U.S. premiere of NELLA TEMPESTA by Motus Theatre. Italy’s provocative and dynamic MOTUS Theatre Company explores questions of freedom, control and power in Nella Tempesta. Reflecting on the turmoil in our society – the impact of Hurricane Sandy, the consequences of the economic crisis and questioning of future landscapes -- Nella Tempesta is created from fragments of novels by authors including: Philip K. Dick, William Gibson, Aldous Huxley as well as Shakespeare’s The Tempest and Une Tempête by Aimé Césaire. This version of THE TEMPEST imagines the play about a world not as it appears to be ending, but a world on the verge of a new beginning. 
The Ellen Stewart Theatre
66 East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: Click Here

December 20-21
CHRISTMAS IN NICKYLAND
The Club’s Programming Director, Nicky Paraiso, serves as the MC for this annual holiday celebration with all-star downtown guests. 
The Club at La MaMa
74A East 4th Street
(Between Bowery and 2nd Avenue)
New York, NY 10003
Tickets: On Sale Soon!

Once again, La MaMa is please to be able to offer our 10@$10 tickets for every performance at La MaMa.  10 @ $10 tickets must be purchased in advance via web, phone or at the box office - they are not available day of show.