Anne Hamilton/Hamilton Dramaturgy


Great Review of THE ROUTLEDGE COMPANION TO DRAMATURGY

American Theater magazine has given a terrific review to THE ROUTLEDGE COMPANION TO DRAMATURGY, edited by Magda Romanska.

My article, “Freelance Dramaturgs in the Twenty-First Century – Journalists, Advocates, and Curators” garnered praise from the reviewer Philippa Kelly: “One of the book’s highlights is Anne Hamilton’s essay on who dramaturgs are and what they do: cross boundaries, multitask, act as officers of public liaison and conduits for outreach…Hamilton aims to inspire dramaturgs to build confidence in their own creative contributions, and to reach deeper, to act more broadly and boldly.”

I am sending many thanks to Magda for including my chapter in this volume. It has sold out in hardcover, and is now available in paperback for $39.99. (ISBN-13: 978-0415658492, ISBN-10: 0415658497)

http://www.americantheatre.org/2015/07/07/dramaturgs-of-the-world-unite-and-parse-this-text/



BCWJ Article on Little Black Dress INK

Outside the Lines_UNBOUND posterLittle Black Dress INK

By Anne M. Hamilton, MFA

For the past year I have had the pleasure of being involved in Little Black Dress INK’s Female Playwrights Onstage Project.

Now in its fourth year, the competition is the brainchild of Playwright and Educator Tiffany Antone, who currently resides in Texas. This national festival of new work has a different theme each year and utilizes a peer review process to identify semi-finalists, whose short plays or monologues are then read in different cities across the country. Finalists are chosen from those events. They enjoyed a staged reading at the Los Angeles Theatre Center last year, followed by a production in Arizona in January.

In 2014, the theme was Planting the Seed, and my play OFEM, inspired by my experience as a CSA member at Blooming Glen Farm, was a finalist. It was read in Ithaca, NY, and Los Angeles before being given its premiere in Arizona. Indie Theatre Now will publish OFEM and all the finalists in an online volume of 11 plays.

This year’s theme is Outside the Lines, and my two character drama THE SHOEBOX is a semifinalist. This short play reunites two high school classmates to reminisce in a late night phone call after their homeroom teacher, a nun, has passed away. Theater Unbound in Minneapolis gave it a staged reading along with five other pieces in March. The festival is still unfolding in events across the country.

Tiffany summarizes her goals on her website: “Little Black Dress INK is an experiment in support, inspired by recent revelations in numbers on the subject of just how few female playwrights actually get produced. Through outreach, education, and producing opportunities, Little Black Dress INK strives to create more production opportunities for female playwrights while also strengthening the female playwright network.”

I have found this competition to be a highly effective and rewarding way of reaching those goals. It grows every year, and currently involves 35 new plays and over 60 artists in eight cities. 2016 submission guidelines will be posted on www.littleblackdressink.org on October 1, 2015.

Anne Hamilton has 24 years of experience as a dramaturg. She is available for script consultations and career advising through hamiltonlit@hotmail.com. Her play WHO’S ANDY WARHOL? was performed at The Lost Theatre in London in October, 2014. She will teach a playwriting workshop at the Philadelphia Writers Conference in June 12-14, 2015.

To be published in Anne’s Page & Stage column in the Bucks County Women’s Journal (April/May 2015 issue). www.buckscountywomensjournal.com



BCWJ Article – Writing in the Winter

Here is the link to my latest Bucks County Women’s Journal Article.

http://bit.ly/StageFebMar15  

Writing in the Winter

By Anne M. Hamilton, MFA

I find it very easy to be creative when it’s very cold or very hot outside. I consider myself lucky to live in a four season climate, where I can experience the changing temperatures as well as the differences in light, which stimulate my senses.

This winter, my muse has been working overtime and I’ve completed a new full-length play as well as a 10-minute play and some poetry.

Something about extreme weather inspires me to delve deeply into my imagination and my emotions, and pull out whatever has gotten stuck there, or happens to be emerging into consciousness. I try to go with the flow, and harness my body’s natural rhythms, rather than fighting them by struggling to write, for instance, a comedy or a drama.

As a practice, I stop what I’m doing and sit down to write whenever I am struck by the muse, which I experience as a phrase, or a scene in my head that I can simply write down. For me, it is like going into a meditative state and transcribing the scene that is occurring to me.

For those who are new to playwriting, or are fine-tuning their writing process, it is possible to gradually train the mind to reveal its stories. This can be done by sitting silently for as little as fifteen minutes at a time, and writing down what appears in the mind’s eye. Then the time can be lengthened. It is useful to look over the writing on a regular basis and try to find a pattern that can be made into a monologue or a short play.

I think that it is very important for a playwright to give herself time to go into “the deep mind” as I call it – a meditative form of reflection which allows hidden gems to emerge.

By nurturing my creative spirit and enabling my imagination to leap in its own direction, I am building a pathway for fluent expression.

(c) 2015

Anne Hamilton has 24 years of experience as a dramaturg. She is available for script consultations and career advising through hamiltonlit@hotmail.com. Her play WHO’S ANDY WARHOL? was performed at The Lost Theatre in London in October, 2014. She will teach a playwriting workshop at the Philadelphia Writers Conference in June 12-14, 2015.



WHO’S ANDY WARHOL? on youtube

WATCH HERE – https://www.youtube.com/watch?v=qVUzz0EJq5E

It’s up!  A video of the production of my short play WHO’S ANDY WARHOL?, which was performed at the Lost Theatre in Wandsworth, London on October 24th. This is one of the 10 winning plays from the British Theatre Challenge. the International New Writing Competition by the Sky Blue Theatre Company of Cambridge, England.

WHO’S ANDY WARHOL? portrays a medical crisis which redefines the relationship between two lovers when one contracts transient global amnesia.

I am very happy with the production, especially the actors Chris Towner-Jones as Matt, and Lizzie Stanton as Sarah. What a joy it is to watch my words come to life! I hope that you enjoy this piece produced by Mini Mammoth Films. This is the first of the winning plays to be posted on youtube.

Special thanks to Anne Bartram of Sky Blue, and Rah Petherbridge, the UK-based photographer who took these wonderful stills below.

If you would like to read the play, please contact me at hamiltonlit@hotmail.com. Thank you for watching!

 

©Rah Petherbridge -  Who's Andy Warhol--3

©Rah Petherbridge -  Who's Andy Warhol--6

©Rah Petherbridge -  Who's Andy Warhol--13

©Rah Petherbridge -  Who's Andy Warhol--28



OFEM to be Read at the Los Angeles Theatre Center

I’m very excited to announce that my comedic monologue OFEM will be read at the Los Angeles Theatre Center on May 18th at noon, Pacific Standard Time. Sara Israel will serve as the director for my piece.

The event is the 2014 Female Playwrights Onstage Project –  National Festival of New Work. It will be live streamed by HowlRound. It is open to the public, and those in the Los Angeles area may make reservations through http://www.littleblackdressink.org. The address is 514 South Spring Street, Los Angeles. (213) 489-0994, http://www.latc.org.

Many thanks to Tiffany Antone, who created the event to highlight the work of female playwrights under the aegis Little Black Dress INK.

OFEM was read in a regional event on May 4th in an Ithaca, NY event held at Acting Out, produced by Darcy Rose. Professor Cynthia Henderson of Ithaca College directed my piece.

OFEM was in perfect keeping with this year’s theme – Planting the Seed. My character, Sally Parsons, is a farmer in Bucks County, PA, who is announcing a new initiative to take back the fields and farmer’s markets from what she views as an oppressive patriarchy. She makes a passionate speech to roll out the new food movement she has invented. You’ll have to watch online on May 18th to find out what it is. Suffice it to say that Sally is part Rosie the Riveter, part Emma Goldman, and part Susan B. Anthony. Her speech will leave you cheering and laughing.

Planting the Seed LATC poster_web

 

Little Black Dress INK is an experiment in support, inspired by recent revelations in numbers on the subject of just how few female playwrights actually get produced. Through outreach, education, and producing opportunities, Little Black Dress INK strives to create more production opportunities for female playwrights while also strengthening the female playwright network.

Check out The Blog to read up on the playwrights, directors, and other creative people collaborating on Little Black Dress INK’s Female Playwrights ONSTAGE project and the upcoming Planting the Seed new play festival.



THE ROUTLEDGE COMPANION TO DRAMATURGY – Coming soon

I’m very excited that my article, “Freelance Dramaturgs in the 21st Century: Journalists, Advocates and Curators” will appear in this new textbook, edited by Magda Romanska.

cover image

http://www.routledge.com/books/details/9780415658492/

It’s available for pre-order now.

Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of “play making.” Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multi-media to filmmaking and robotics.

In our global, mediated context of multi-national group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: inter-cultural mediator, information and research manager, media content analyst, inter-disciplinary negotiator, social media strategist.

This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes.

The contributions survey the field through eight main lenses:

  • world dramaturgy and global perspective
  • dramaturgy as function, verb and skill
  • dramaturgical leadership and season planning
  • production dramaturgy in translation
  • adaptation and new play development
  • interdisciplinary dramaturgy
  • play analysis in postdramatic and new media dramaturgy
  • social media and audience outreach.

Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-traumatic Theatre of Grotowski and Kantor(2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).



MUSE – A New Monologue

On Sunday I was walking on Greene Street in SoHo and I spied some gorgeous paintings in the window of Arcadia Fine Arts. They immediately reminded me of John Singer Sargeant, and I entered the gallery to discover several large, beautiful figurative works by Malcolm T. Liepke, an American painter. I was so enchanted with his work that I called the gallery the next day to learn more about him. Today I was inspired to write this monologue.

MUSE

For Malcolm T. Liepke

By Anne Hamilton

© April 23, 2013

CHARACTER: A PAINTER, in his late fifties.

SETTING: His studio

TIME: Now

A male painter stands center stage at his easel. It is a very large canvas. His model is offstage, or hidden behind a curtain or screen. He is speaking to his model as he paints.

PAINTER

When I was a kid I went to London. My parents took me there on vacation. I saw amazing things. At the National Gallery I saw Turners. Clouds in endless iterations. Grass plains. Sky.

Pre-Raphaelites. Their hair. Blossoming with volume. Copper-rust strands. Silk and lace so real I could feel them against my skin.

And John Singer Sargeant. My first. Carnation Lily Lily Rose.

An explosion of blooms. They grew from the trees, it seemed.  Children holding lamps glowing like fireflies. The flowers, abundant. And hopeful. And lush.

A big canvas. A big, endless world.

A garden of delights.

I stood there staring until my mother threatened to leave me behind.

(To the model) Can you turn your head a little bit to the right? I want to see how the light falls on your cheek.

I saw Madame X in a book. Arresting. That silhouette. The turned head away. Mystery.

I learned from him –- brushstrokes. Composition. Color. Texture. Light falling against bare skin. The paint making something from nothing. A lightweight pile of color meeting a bare white canvas. And magic. Appears. From nowhere. Just desire. The desire makes magic appear. Becomes flesh.

Imagination. Desire. The light of the world. My muse.

(He paints for a while. He stops, stretches. Puts his paint brush down. He walks over to the area where the model is. He pulls back the curtain. There is no model. He goes back to his canvas and looks at it with satisfaction. He picks up a used brush or two and walks off stage.)

THE END