The Thaumaturgy Department

(It's dramaturgy, not thaumaturgy.)

Gavin
CENTERSTAGE
Baltimore
Maryland
USA

thaumaturg
Main Entry: thau·ma·turg
Pronunciation: \ˈthȯ-mə-ˌtərj\
Function: noun
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work

2014-2015 Season:
Amadeus
Next to Normal
It's A Wonderful Life
One Night in Miami
Herzog Rep
After the Revolution
4000 Miles
Marley
Play Labs

The official blog of the Dramaturgy Department at Baltimore's CENTERSTAGE. For posts related to our current and upcoming shows, click the links to the right. Alternatively, you could begin at the beginning, and explore our posts in chronological order.

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nevver:

Christian Bök & Micah Lexier


In honor of our RAISIN CYCLE plays and the conversation they knit around the palimpsest of RAISIN IN THE SUN, check out this marvelous instance of textual “riffing.”

nevver:

Christian Bök & Micah Lexier

In honor of our RAISIN CYCLE plays and the conversation they knit around the palimpsest of RAISIN IN THE SUN, check out this marvelous instance of textual “riffing.”

(via egoetschius)



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Discussion in America means dissent. James Thurber, American humorist and essayist


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Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.

(America never was America to me.)

Let America be the dream the dreamers dreamed—
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.

(It never was America to me.)

O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.

(There’s never been equality for me,
Nor freedom in this “homeland of the free.”)

Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?

"Let American Be America Again" by Langston Hughes

- prepping lobby quotes for the RAISIN CYCLE, rep productions of Clybourne Park and the world premiere of Beneatha’s Place.



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Hansberry family house, Chicago’s South Side; source of conflict, center of legal battles, and inspiration for A RAISIN IN THE SUN. Fitting sign.

Hansberry family house, Chicago’s South Side; source of conflict, center of legal battles, and inspiration for A RAISIN IN THE SUN. Fitting sign.



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1960 demographic map of Chicago, against which take place RAISIN IN THE SUN, CLYBOURNE PARK, and BENEATHA’S PLACE, the 3 pieces of #CSRaisin RAISIN CYCLE at centerstage.

1960 demographic map of Chicago, against which take place RAISIN IN THE SUN, CLYBOURNE PARK, and BENEATHA’S PLACE, the 3 pieces of #CSRaisin RAISIN CYCLE at centerstage.



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Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?
March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.
Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.

Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?

March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.

Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.



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Fun with White Privilege, as we get ready to start rehearsals Monday for #CSRaisin. That would be rep cast productions of Norris’ CLYBOURNE PARK and Kwei-Armah’s brand new BENEATHA’S PLACE, both alternative responses in conversation with Hansberrry’s gorgeous original classic, RAISIN IN THE SUN. So there.

Fun with White Privilege, as we get ready to start rehearsals Monday for #CSRaisin. That would be rep cast productions of Norris’ CLYBOURNE PARK and Kwei-Armah’s brand new BENEATHA’S PLACE, both alternative responses in conversation with Hansberrry’s gorgeous original classic, RAISIN IN THE SUN. So there.



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tballardbrown:

“NOW, I’m not proud of what I did,” my friend Donna said the other day, her voice dropping to a low, confessional register.
Donna is black, in her late 40s and a graphic designer. Three generations of her family owned a Victorian row house in Washington until a probate dispute a while back forced them to rent in the Maryland suburbs. Driving home from work in the city recently, she took a shortcut through the alley where she frolicked in her youth, but which she now barely recognized, with its three-story decks and Zen gardens that led onto sidewalks freshly paved in red brick.
Donna tooted the horn at a parked car blocking her path. The car’s owner, a white woman, dawdled away in her garden nearby. With a blithe wave, the woman suggested a detour. Donna refused. She intended to wait her out, but then the words just tumbled out: “If you didn’t want to follow the rules, you shouldn’t have moved your white” — and here she used an expletive — “into D.C.!”
This is the rage, long simmering just beneath the surface, that is bubbling over now that Washington, the once-majority-black city immortalized in George Clinton’s 1975 funk classic “Chocolate City,” has lost its black majority. But even before the data corroborated that demographic milestone last year, Washington’s makeover had created something of an identity crisis.
(via Farewell to Chocolate City - NYTimes.com)
Photo: Stephen Crowley/The New York Times

tballardbrown:

“NOW, I’m not proud of what I did,” my friend Donna said the other day, her voice dropping to a low, confessional register.

Donna is black, in her late 40s and a graphic designer. Three generations of her family owned a Victorian row house in Washington until a probate dispute a while back forced them to rent in the Maryland suburbs. Driving home from work in the city recently, she took a shortcut through the alley where she frolicked in her youth, but which she now barely recognized, with its three-story decks and Zen gardens that led onto sidewalks freshly paved in red brick.

Donna tooted the horn at a parked car blocking her path. The car’s owner, a white woman, dawdled away in her garden nearby. With a blithe wave, the woman suggested a detour. Donna refused. She intended to wait her out, but then the words just tumbled out: “If you didn’t want to follow the rules, you shouldn’t have moved your white” — and here she used an expletive — “into D.C.!”

This is the rage, long simmering just beneath the surface, that is bubbling over now that Washington, the once-majority-black city immortalized in George Clinton’s 1975 funk classic “Chocolate City,” has lost its black majority. But even before the data corroborated that demographic milestone last year, Washington’s makeover had created something of an identity crisis.

(via Farewell to Chocolate City - NYTimes.com)

Photo: Stephen Crowley/The New York Times

(via npr)



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"Apologies to Dracula, Werewolf, Frankenstein": White Homeowners and Blockbusters in Postwar Chicago, by Amanda Irene Seligman(click though image for article)

"Apologies to Dracula, Werewolf, Frankenstein": White Homeowners and Blockbusters in Postwar Chicago, by Amanda Irene Seligman
(click though image for article)



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