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Two Bard College Professors Receive 2025 Andy Warhol Foundation Arts Writers Grant

L–R: Drew Thompson, associate professor at Bard College and Bard Graduate Center (photo by Alessandro Fresco); and Miriam Felton-Dansky, associate professor and director of Bard College’s undergraduate Theater and Performance Program (photo by Ashley Smith/Wide Eyed Studios)

Miriam Felton-Dansky, associate professor and director of Bard College’s undergraduate Theater and Performance Program, and Drew Thompson, associate professor of Africana and Historical Studies at Bard and associate professor at Bard Graduate Center, have received 2025 Andy Warhol Foundation Arts Writers Grants. Felton-Dansky was awarded a grant in the category of Articles for “Vetting Regimes: The US Politics of Artist Visas from the Berlin Wall to the Muslim Ban,” and Thompson was awarded a grant in the category of Books for Coloring Surveillance through Polaroids: The Poetics of Black Solidarity and Sociality.

In its 2025 cycle the Arts Writers Grant has awarded a total of $1,040,000 to 31 writers. The program supports writing about contemporary art and aims to ensure that critical writing remains a valued mode of engaging with the visual arts. The grant has funded over 450 writers over 20 years, providing more than $13.5 million of support. “The Arts Writers Grant honors excellence in the field, and celebrates the generative role arts writing plays in creative and intellectual spheres,” said Joel Wachs, president of the Andy Warhol Foundation for the Visual Arts.

Felton-Dansky will receive a grant in support of her research into the history and evolution of US visa classifications for international performing artists. Her article will examine how the O and P visa systems, established in 1990, have shaped which performers can enter the US to present work on American stages and how these administrative processes have evolved over the past three decades. The research traces the origins of these visa categories and their role in international cultural exchange, drawing on archival materials, immigration policy analysis, and case studies from the performing arts sector.

“This project emerged from conversations with valued colleagues in the arts community at Bard, which I am proud to be a part of,” Felton-Dansky said. “I am honored by the meaningful recognition and support of this grant, which will allow me to pursue my research about the politics of international artist visas at a time when conversation about our immigration system has never been more urgent. My work on the article will feature prominently in my forthcoming book, The January Years: Infrastructures of New Performance in New York.”

Thompson will be awarded a grant in support of his book project, Coloring Surveillance through Polaroids: The Poetics of Black Solidarity and Sociality, which studies the practices of Black artists in order to understand the role of Polaroids in African and African-American histories. The book explores why Black artists use Polaroids and what their projects reveal about the relationships between Polaroids and Black life, in the context of everyday histories of labor, activism, and artistic expression. Artists under study for the project include Dawoud Bey, Lorna Simpson, Zarina Bhimji, Kay Hassan, Djabulani Dhlamini, Anthony Barboza, Zun Lee, and others.

“I am grateful for the support and community that the Arts Writers Grant provides,” Thompson said. “The prestigious honor is an opportunity to be more expansive and imaginative with my curatorial and writing practice. I developed many of the ideas behind this project through my undergraduate and graduate teaching, a testament to the creativity and spirit of collaboration that flourishes at Bard.”

Post Date: 12-11-2025

Jack Ferver’s My Town Reviewed in the New York Times

My Town, a semi-autobiographical show written by Bard Assistant Professor Jack Ferver, was reviewed in the New York Times. The play, which Ferver performed at NYU Skirball last week, is a one-person retelling of Our Town by Thornton Wilder following a schoolteacher and interrogating rural American life through dance-theater.

Bard Student Production of Brecht’s Puntila and Matti Reviewed in the Millbrook Independent

A mainstage production of Puntila and Matti, His Hired Man (1948) by Bertolt Brecht, conducted by the Theater and Performance Program at Bard, was reviewed in the Millbrook Independent. “This excellent and robust student production, set in Finland, evokes striking, trenchant parallels to our contemporary situation in the United States, where power has been translated from a dysfunctional democracy to totalitarian improvisation,” writes Kevin T. McEneaney.

More Theater News

Jack Ferver’s Dance Performance My Town Included in a New York Times Roundup

Jack Ferver’s Dance Performance My Town Included in a New York Times Roundup

Jack Ferver.

The upcoming dance performance My Town by Assistant Professor of Theater and Performance Jack Ferver was included in a roundup by the New York Times. In “10 Things We’re Excited About This Fall,” the Times showcased theater and artistic performances happening throughout the country over the next few months. This included My Town, Ferver’s dance-theater piece which will be performed at the NYU Skirball Center on November 21–22.

My Town is a queer reimagining of Thorton Wilder’s play Our Town. The Times describes the performance as “Ferver’s surreal brand of dark humor” that presents “a raw and exacting piece of dance-theater that looks at small-town life, [exploring] a more haunting side of existence.” Ferver has taught at Bard since 2013 in the Theater and Performance Program and the graduate Vocal Arts Program.

Read the Preview

Event Information

Post Date: 09-10-2025

Article by Miriam Felton-Dansky Wins Award From the University of Toronto Press

Article by Miriam Felton-Dansky Wins Award From the University of Toronto Press

Miriam Felton-Dansky, director of the Theater and Performance Program.

An article coauthored by Miriam Felton-Dansky, director of the Theater and Performance Program at Bard College, has won the 2024 Modern Drama Outstanding Article Award from the University of Toronto Press. “Interface Theatre: Watching Ourselves Disappear,” which Felton-Dansky wrote together with Jacob Gallagher-Ross of the University of Toronto, is a timely analysis and assessment of theatrical responses to and engagement with digital culture. The essay explores the concept of what they have termed “interface theatre,” illuminating a genre in which live performance lays bare the invisible architectures of digital life. This new conceptual framework explains how theatre can not only depict but also embody the logics of algorithmic life, revealing how interfaces shape identity, surveillance, and the perception of self. The essay also received an honorable mention for the 2025 Outstanding Article Award from the Association for Theatre in Higher Education, one of the largest scholarly organizations in the field.

Bard’s Theater and Performance Program offers an interdisciplinary, liberal arts-based approach to the making and study of theater and performance, and embraces a wide range of performance practices, from live art and interactive installation to classical theater from around the globe.

Post Date: 08-19-2025

Beto O’Byrne Receives New York City Small Theatres Fund Award

Beto O’Byrne Receives New York City Small Theatres Fund Award

Beto O’Byrne, visiting artist in residence in theater and performance at Bard College.

Beto O’Byrne, visiting artist in residence in theater and performance at Bard College, along with the collective he cofounded, Radical Evolution Performance Collective, has received a New York City Small Theatres Fund Award. The award, in the amount of $15,500, is bestowed by ART/New York, an arts service organization dedicated to supporting New York City’s community of nonprofit theaters, and the Howard Gilman Foundation, which provides funding and support to New York City–based performing arts organizations that are reflective of its vibrant cultural community. One of 17 recipients elected from 182 applications, O’Byrne and Radical Evolution will receive two years of flexible funds to support their theater operations. Since its founding in 2011, Radical Evolution has been committed to creating artistic events that seek to understand the complexities of mixed-identity existence in the 21st century. The collective collaborates with people from many different identities to break down barriers between cultures and creative practices, and aims to seed the field of experimental and collaboratively created theater with practitioners who celebrate the intersectionality of perspectives and aesthetics of New York City.

Post Date: 07-15-2025

Assistant Dean of Students Corey Sullivan ’03 Wins Obie Award

Assistant Dean of Students Corey Sullivan ’03 Wins Obie Award

Assistant Dean of Students Corey Sullivan ’03.

At the 68th annual Obie Awards, the American Theatre Wing presented Assistant Dean of Students Corey Sullivan ’03 and other members of his arts collective, Theater Mitu, the Ross Wetzsteon Award for sustained innovation in the field. Theater Mitu was originally formed through Sullivan’s collaborations as an undergraduate at Bard.

In 2001, then an undergraduate, Sullivan began collaborating with visiting artists on a production for Bard’s Theater and Performance Program. Their work together continued beyond the show’s run, and soon after, Sullivan joined the group in forming an interdisciplinary arts collective called Theater Mitu. Since then they have worked together to push the boundaries of theater through innovative productions, global research and education initiatives, programs supporting emerging artists, and the creation of their Brooklyn-based performance and technology center, MITU580.

Theater Mitu will be in residence at the Boston Museum of Science and Arts Emerson in spring 2025 to present Utopian Hotline, a project developed in partnership with the SETI Institute and Arizona State University’s Interplanetary Initiative. Part telephone hotline, part vinyl record, and part live performance, Utopian Hotline uses real voicemails left on a public hotline to create a moment of community—inviting audience members to re-imagine our shared future. Inspired by the 1977 NASA Voyager mission, which launched a vinyl-style recording of sounds found on Earth into space, as well as the uncertainty surrounding the Covid-19 pandemic, this immersive performance begs the question: “If we were to send another message into the distant future, what message would we send?”

Last summer, Theater Mitu premiered (HOLY) BLOOD! at their Brooklyn space, MITU580. Part live-scored silent film, part irreverent midnight movie, the piece created an original live soundscape merged with manipulated fragments of Alejandro Jodorowsky’s cult-classic film Santa Sangre. Projected across a shattered landscape of screens and sculpture, accompanied by explosive blood choreography enclosed in glass booths, the work remapped a story of circuses, blood cults, madness, and forgiveness.

For more information on the company’s work, visit www.theatermitu.org

Read about the 68th annual Obie Award winners

Post Date: 02-04-2025

Bard College and Six Faculty Awarded New York State Council on the Arts Grants

Bard College and Six Faculty Awarded New York State Council on the Arts Grants

Clockwise from top left: Erika Switzer, Suzanne Kite, Lucy Fitz Gibbon, DN Bashir, Sarah Hennies, and Ann Lauterbach.

Six Bard College faculty members have been named as recipients of grants from the New York State Council on the Arts (NYSCA) for 2025. NYSCA Support for Organizations grants were awarded to Erika Switzer, assistant professor of music and director of the Postgraduate Collaborative Piano Fellowship at Bard, Lucy Fitz Gibbon, visiting faculty in vocal arts at the Bard College Conservatory of Music, Sarah Hennies, visiting assistant professor of music, and Suzanne Kite, distinguished artist in residence, assistant professor of American and Indigenous Studies and director of the Wihanble S’a Center for Indigenous AI at Bard. Additionally, Bard College received a Support for Organizations Award for 2025 in the amount of $40,000. NYSCA Support for Artist grants were awarded to DN Bashir, assistant professor of theater and performance at Bard, and Ann Lauterbach, professor of languages and literature.The NYSCA grants are intended to increase access to arts funding and recognize the substantial economic and social impact of New York state’s arts and culture sector.

Erika Switzer and Lucy Fitz Gibbon will receive a grant in support of operational expenses and projects at Sparks & Wiry Cries, an organization, cofounded by Switzer and where Fitz Gibbon serves as managing editor, that curates opportunities for art song creators, performers, and scholars with innovative initiatives. These projects will include the upcoming Brooklyn premieres of Meltdown, a dramatic work for mezzo and piano trio which engages the layered stories and science of climate change through the lens of a female glaciologist, and Skymother, which weaves together the family history of composer Timothy Long (Choctaw, Muscogee Creek) with the Haudenosaunee creation story, Sky Woman.

Sarah Hennies, along with her duo partner, Tristan Kasten-Krause, a bassist and composer, will receive the grant for their new work Saccades for double bass and percussion at the Wassaic Project, an artist-run nonprofit contemporary art gallery, artist residency, and art education center. The piece is to be performed in total darkness with a single candle flame.

Suzanne Kite will receive a grant for the proposed project, Owáǧo Uŋkíhaŋblapi (We Dream a Score), her first full orchestral work for her organizational partner, the American Composers Orchestra (ACO). The piece continues Kite’s exploration of individual, collective, and societal dreaming practices, using an Indigenous AI framework. NYSCA funding supports the development of an AI app in collaboration with the Brooklyn-based design firm School. Members of the ACO and the public will submit their dreams to the app, which transforms language into Lakȟóta Visual Language symbols.

DN Bashir’s Hollow House, sponsored by JACK Arts Incorporated, follows a group of New York residents meeting at a farm-to-table restaurant in an old house in the Hudson Valley. Inspired by Chekhov’s The Cherry Orchard, it explores unspoken power dynamics and “the systems that hold us captive.”

Ann Lauterbach will be awarded a grant in support of her project called “The Meanwhile: Linear Ruptures and Simultaneous Narratives,” which will have a performance and possible exhibition at the Flowchart Foundation.

Read the NYSCA Announcement Here

Post Date: 12-10-2024

Fisher Center Artist Justin Vivian Bond Named 2024 MacArthur Fellow

Fisher Center Artist Justin Vivian Bond Named 2024 MacArthur Fellow

Justin Vivian Bond. Photo courtesy of John D. and Catherine T. MacArthur Foundation

Fisher Center for the Performing Arts at Bard College artist and collaborator Justin Vivian Bond is named a recipient of a 2024 MacArthur Fellowship. One of this year’s 22 recipients of the prestigious “genius grant” awarded by the John D. and Catherine T. MacArthur Foundation, Justin Vivian Bond, an artist and performer, has a long relationship with the Fisher Center and Bard College. They curated and hosted the Spiegeltent season for five years (2014–2018), and continue to return as a performer each summer to sold-out audiences. They have taught in Bard’s undergraduate Theater and Performance Program, and have received developmental support from Fisher Center LAB on multiple projects. MacArthur Fellows receive $800,000 stipends that are bestowed with no conditions; recipients may use the money as they see fit.

In a statement about their work, the MacArthur Foundation says, “Justin Vivian Bond (Viv) is an artist and performer working in the cabaret tradition weaving history, cultural critique, and an ethic of care into performances and artworks animated by wit, whimsy, and calls to action. Bond uses cabaret to explore the political and cultural ethos of the moment and tie it back to history to address contemporary challenges, in particular those facing queer communities. Bond’s decades-long journey across the landscape of gender has both informed their artistic practices and played a significant role in ongoing conversations around gender identity and LGBTQ+ rights.”

Justin Vivian Bond studied theater at Adelphi University (1981–1985) and received an MA (2005) from Central Saint Martins College, London. They have taught performance at New York University and Bard College and held a long-term residency at Joe’s Pub at the Public Theater (New York). Bond has appeared on stage at such venues as Carnegie Hall, the Sydney Opera House, and the Vienna Staatsoper, among others. They are the author of a memoir, Tango: My Childhood, Backwards and in High Heels (2011), and their art has been exhibited at The New Museum, VITRINE (London), and Participant, Inc. (New York).

Learn more about Justin Vivian Bond from the MacArthur Foundation

Post Date: 10-02-2024

Theater Events

Archive of Past Events

Sunday, October 26, 2025

Saturday, October 25, 2025

Friday, October 24, 2025

Friday, October 24, 2025 – Sunday, October 26, 2025

Thursday, September 25, 2025

A Conversation with Designer and Producer Lisa Renkel, Facilitated by Ash K. Tata and Ben Coonley
OTTAWAY THEATER 5:00 pm – 6:30 pm EDT/GMT-4
Lisa, an Emmy Award-winning producer and multi-departmental designer based in New York City, thrives on collaborative design. Her diverse portfolio spans from Broadway productions to music world tours and architectural installations, showcasing her passion for innovative storytelling through visuals.
Her designs include: New York: N/A - A New Play (Lincoln Center), AfterRite (Met Opera), Emojiland The Musical (The Duke) (Drama Desk, Lucille Lortel, and Outer Critics Awards), Soundcake (Lincoln Center), Queens Girl in the World (Theatre Row), The Revolving Cycles… (The Duke), She Persisted (Sheen Center), Broadway Bares (BC/EFA). Regional: Frozen and Beautiful (Maltz Jupiter), Espejos: Clean (Hartford Stage), Dom Juan (Bard), Justice (Arizona Theatre Company), Eureka Day and Yoga Play (Syracuse Stage), Reefer Madness (New 42), Indecent and Merrily We… (Cape Rep). In addition, Lisa has served as an associate on Broadway productions such as Tina: The Tina Turner Musical, Here Lies Love, and Junk.

In addition, Lisa is a senior producer and creative director at POSSIBLE, Lisa's expertise extends to world music tours, opening ceremonies, and even mobile game development for luxury brands like Louis Vuitton. Her focus lies in integrating storytelling with cutting-edge technology, fostering client and artist relationships, and strategic planning for industry success.
Her creative and producer credits include: Music: The Eagles (Las Vegas Sphere), Nicki Minaj – Pink Friday 2 (World Tour), Lady Gaga – Chromatica (World Tour) and Enigma Residency, Esports World Cup Opening Ceremony ft. Post Malone, League of Legends Worlds Opening Ceremony ft. Lil Nas X (Emmy-award), Ariana Grande – Sweetener (World Tour & Coachella Headline) and Don’t Look Up (Film), Childish Gambino (Coachella Headline), Louis The Game Mobile Game (Louis Vuitton). A graduate of UNC School of the Arts and an active member of USA829, Lisa's dedication to her craft shines through in her ability to blend compelling narratives with advanced technology. Explore more of her work at voidprisma.com.

Saturday, September 20, 2025

Sunday, April 20, 2025

Saturday, April 19, 2025

Friday, April 18, 2025

Wednesday, March 26, 2025

Sunday, March 9, 2025

Saturday, March 8, 2025

Friday, March 7, 2025

Wednesday, November 6, 2024

Sunday, October 27, 2024

Saturday, October 26, 2024

Friday, October 25, 2024

Sunday, April 14, 2024

Saturday, April 13, 2024

Friday, April 12, 2024

Sunday, March 3, 2024

Saturday, March 2, 2024

Friday, March 1, 2024

Sunday, November 19, 2023

Saturday, November 18, 2023

Friday, November 17, 2023

Sunday, November 5, 2023

Saturday, November 4, 2023

Friday, November 3, 2023 – Sunday, November 5, 2023

Sunday, October 22, 2023

Saturday, October 21, 2023

Friday, October 20, 2023

Sunday, April 16, 2023

Saturday, April 15, 2023

Friday, April 14, 2023

Tuesday, March 28, 2023

Friday, February 24, 2023 – Sunday, February 26, 2023

Monday, February 6, 2023

Sunday, April 10, 2022

Saturday, April 9, 2022

Sunday, February 27, 2022

Saturday, February 26, 2022

Friday, February 25, 2022

Thursday, September 9, 2021

Sunday, May 16, 2021

Saturday, May 15, 2021

Friday, May 14, 2021

Saturday, April 10, 2021

Friday, April 9, 2021

Monday, March 29, 2021

Thursday, January 21, 2021 – Sunday, May 16, 2021

Wednesday, October 14, 2020

Wednesday, October 7, 2020

Friday, May 15, 2020

Friday, April 10, 2020

Friday, March 6, 2020 – Sunday, March 8, 2020

Sunday, February 23, 2020

Saturday, February 22, 2020

Friday, February 21, 2020

Thursday, February 20, 2020

Sunday, October 27, 2019

Saturday, October 26, 2019

Friday, October 25, 2019

Thursday, October 24, 2019

Sunday, April 7, 2019

Saturday, April 6, 2019

Friday, April 5, 2019

Thursday, April 4, 2019

Sunday, February 24, 2019

Saturday, February 23, 2019

Friday, February 22, 2019

Thursday, February 21, 2019

Sunday, November 11, 2018

Saturday, November 10, 2018

Friday, November 9, 2018

Thursday, November 8, 2018

Monday, October 1, 2018

Friday, September 21, 2018

Sunday, May 20, 2018

Saturday, May 19, 2018

Friday, May 18, 2018

Monday, April 2, 2018

Sunday, February 25, 2018

Saturday, February 24, 2018

Friday, February 23, 2018

Thursday, February 22, 2018

Thursday, November 30, 2017

Sunday, October 29, 2017

Saturday, October 28, 2017

Friday, October 27, 2017

Wednesday, April 26, 2017

Wednesday, April 19, 2017

Thursday, April 6, 2017 – Sunday, April 9, 2017

Wednesday, March 15, 2017

Thursday, February 23, 2017 – Sunday, February 26, 2017

Tuesday, February 7, 2017

Tuesday, January 31, 2017 – Friday, February 3, 2017

Saturday, January 7, 2017 – Wednesday, January 11, 2017

January Intensive in New York City
New York City **Please let students know about this! Email Miriam Felton-Dansky or Bob Bangiola for a registration form, or pick one up at the Fisher PAC front desk.**

Every January, New York City hosts three major festivals of interdisciplinary and international theater, dance, and performance: Under the Radar (New York Public Theater); American Realness (Abrons Arts Center); and COIL (PS 122). Together these festivals unite some of the world’s leading performing artists, who for three weeks transform New York into an internationally renowned showcase of contemporary theater and performance.

Professor Miriam Felton-Dansky will lead a group of Bard students in an intensive investigation of contemporary performance in New York City in January 2017, using these festivals as living case studies. This year's festivals include a diverse range of international and interdisciplinary work from artists such as Philippe Quesne (France), Will Rawls (US), and Rimini Protokoll (Germany).

Over five packed days we will see many performances and meet with curators and artists whose work is being presented in the festivals, studying its context and background to maximize our appreciation. This is an unmatched opportunity to experience and analyze a wide range of contemporary theater and performance in one of the world’s great cultural centers.

Cost: $275; this will cover tickets to at least seven performances, plus artist and curator talks, administrative fees, and two group meals in New York City. (Please note that housing is not included.)

TO REGISTER: Email Miriam Felton-Dansky at [email protected] or Bob Bangiola at [email protected] for a registration form, or pick one up at the front desk of the Fisher Center. Drop off your form with Miriam or Bob, along with your registration check for $275 made out to Bard College.

REGISTRATION DEADLINE: Tuesday, December 6, 2016.

Thursday, November 17, 2016 – Sunday, November 20, 2016

Friday, October 21, 2016

Friday, September 23, 2016

Thursday, September 22, 2016

Tuesday, September 13, 2016

Monday, September 12, 2016 – Tuesday, September 13, 2016

Thursday, April 21, 2016

Thursday, April 7, 2016 – Sunday, April 10, 2016

Thursday, March 31, 2016

Sunday, March 13, 2016

Monday, February 29, 2016

Sunday, February 28, 2016

Saturday, February 27, 2016

Friday, February 26, 2016

Friday, February 26, 2016 – Monday, February 29, 2016

Monday, February 15, 2016 – Friday, February 19, 2016

Tuesday, January 12, 2016 – Saturday, January 16, 2016

Thursday, October 22, 2015 – Sunday, October 25, 2015

Friday, September 18, 2015

Thursday, April 23, 2015

Wednesday, April 1, 2015

Tuesday, March 31, 2015

Friday, March 27, 2015

Thursday, March 26, 2015

Thursday, March 12, 2015

Sunday, March 1, 2015

Monday, February 2, 2015

Thursday, January 29, 2015

Saturday, January 10, 2015

Thursday, December 11, 2014

Monday, November 10, 2014

Wednesday, November 5, 2014

Thursday, October 23, 2014

Video Art pioneer Charles Atlas will present an overview of his diverse practices
Jim Ottaway Jr. Film Center The Film & Electronic Arts Program and the Theater & Performance Program present:
CHARLES ATLAS Visiting Artist Lecture Thursday, October 23, 2014 at 5:00 pm The Theater at the Jim Ottoway Jr. Film Center
In his first ever visit to Bard College, video art pioneer Charles Atlas will present an overview of his diverse practice, with a focus on his recent site-specific video installations and multi-media performance works. For over four decades, Mr. Atlas has extended the limits of film and video, forging new territory in a far-reaching range of genres, stylistic approaches, and techniques. Over the years he has made media/dance works, multi-channel video installations, feature-length documentaries, video art works for television, and live electronic performances.
Throughout his career, he has consistently fostered collaborative relationships, working intimately with such artists and performers as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer, Mika Tajima/New Humans, Antony & The Johnsons, and most notably Merce Cunningham, for whom he served as filmmaker-in-residence for a decade from the early 1970s through 1983.

His recent projects include solo shows: Glacier (January 2013) at the Bloomberg Space, London, The Illusion of Democracy at Luhring Augustine Bushwick (February 2012) and Discount Body Parts at De Hallen Museum in Holland (March 2012) ; live performance/installations: The Pedestrians, in collaboration with Mika Tajima/New Humans at The South London Gallery (April 2011), In Residence at the 2012 Whitney Biennial, and Charles Atlas and Collaborators at the Tate Modern (March 2013); and Ocean, a film of Merce Cunningham’s epic dance, which premiered at the Walker Art Center (September 2010). His most recent film TURNING, a documentary feature made in collaboration with Antony and the Johnsons is currently touring in festivals worldwide and will be released digitally and on DVD in the coming months.

Atlas has received a Guggenheim Fellowship, three “Bessie” (New York Dance and Performance) Awards, and was the 2006 recipient of the Foundation for Contemporary Artʼs biennial John Cage Award.

Thursday, October 2, 2014

Wednesday, May 21, 2014

Monday, April 28, 2014

Thursday, April 24, 2014

Thursday, April 17, 2014 – Sunday, April 20, 2014

Thursday, April 17, 2014

Thursday, April 10, 2014 – Sunday, April 13, 2014

Thursday, April 10, 2014

Two Weekends of Solo and Devised Performances
Fisher Center, Resnick Theater Studio Solo Performances:
Thursday, April 10, 2014 — Sunday, April 13and Devised Theater Projects:
Thursday, April 17, 2014 — Sunday, April 20  WEEKEND ONE: SOLO THEATER PROJECTS
Fisher Center, Resnick Theater StudioThursday, April 10 7:00PM Stuff – Konstantin Rizos 8:00PM Changes – Pauline Chalamet 9:00PM The Funny Thing About Blood – Mary Elizabeth GilbertFriday, April 11 7:00PM True Stories – Harry Beer 8:00PM THINGS I NEVER TOLD MY FATHER – Eric Benjamin Gordon Saturday, April 12 2:00PM True Stories – Harry Beer 3:00PM THINGS I NEVER TOLD MY FATHER – Eric Benjamin Gordon 7:00PM Stuff – Konstantin Rizos 8:00PM Changes – Pauline Chalamet 9:00PM The Funny Thing About Blood – Mary Elizabeth GilbertSunday, April 13 2:00PM Stuff – Konstantin Rizos 3:00PM Changes – Pauline Chalamet 4:00PM The Funny Thing About Blood – Mary Elizabeth Gilbert 7:30PM True Stories – Harry Beer 8:30PM THINGS I NEVER TOLD MY FATHER – Eric Benjamin Gordon  WEEKEND TWO: DEVISED THEATER PROJECTS
Thursday, April 17, 2014 — Sunday, April 20, 2014
Fisher Center, LUMA TheaterThursday, April 17 7:00PM          Bleeding Chunks from Sarah Kane's Cleansed – Jacqueline Reddington 8:15PM          Dimitri Cacouris 9:30PM          Pool Party – Benjamin Walter HopkinsFriday, April 18 7:00PM          After/Before – Sean Byrum Leo 8:15PM          Seussnoff presents: A Daisy for the Crazy – Claire Thompson 9:30PM          SOMETHING SOMETHING; an excerpt – Sebastian Gutierrez Saturday, April 19 1:00PM Bleeding Chunks from Sarah Kane's Cleansed – Jacqueline Reddington 2:15PM Dimitri Cacouris 3:30PM          Pool Party – Benjamin Walter Hopkins 7:00PM After/Before – Sean Byrum Leo 8:15PM Seussnoff presents: A Daisy for the Crazy – Claire Thompson 9:30PM SOMETHING SOMETHING; an excerpt – Sebastian GutierrezSunday, April 20 1:00PM          After/Before – Sean Byrum Leo 2:15PM          Seussnoff presents: A Daisy for the Crazy – Claire Thompson 3:30PM          SOMETHING SOMETHING; an excerpt – Sebastian Gutierrez 7:00PM          Bleeding Chunks from Sarah Kane's Cleansed – Jacqueline Reddington 8:15PM          Dimitri Cacouris 9:30PM Pool Party – Benjamin Walter Hopkins Free, limited availability. No advance reservation.
Please arrive early. For information call 845-758-7900.For more information: contact Bob Bangiola at 845-758-7900, or e-mail [email protected].

Monday, April 7, 2014

Sunday, April 6, 2014

Thursday, April 3, 2014

Saturday, March 1, 2014

Tuesday, February 18, 2014

Friday, February 14, 2014

Thursday, February 6, 2014

Tuesday, January 28, 2014

Wednesday, January 1, 2014

Wednesday, December 11, 2013

Tuesday, December 10, 2013

Thursday, December 5, 2013

Tuesday, December 3, 2013

Thursday, November 14, 2013

Wednesday, October 30, 2013

Thursday, October 24, 2013 – Sunday, October 27, 2013

Saturday, September 14, 2013

Tuesday, September 10, 2013

Wednesday, May 1, 2013

Friday, April 26, 2013

Thursday, April 25, 2013

Friday, April 19, 2013

Wednesday, April 17, 2013

Sunday, April 14, 2013

Thursday, April 11, 2013 – Sunday, April 14, 2013

Monday, April 8, 2013

Bertelsmann Campus Center, Weis Cinema
Eyad Houssami
Founding Director of Masrah Ensemble
In a world of screens and speeds so great, theaters are padlocked and threatened with demolition. Live public dialogue, as a literary and artistic practice, remains a luxury – if not an impossible cultural phenomenon – in the Arab Middle East. Decades of invasion, occupation, and internecine conflict have ruptured the intangible and tangible infrastructure requisite for theater. And yet, despite the stifling forces of dictatorship and colonialism, theater endures.In this talk, Houssami narrates the emergence of alternative infrastructures of and for theatrical artistry in such difficult contexts and discusses the opportunities and challenges of establishing an international, multilingual theater company based in Beirut, Lebanon. The interactive presentation incorporates video, excerpts of performances and plays, and extracts from "Doomed by Hope: Essays on Arab Theatre" to share a story about contemporary theater today.Eyad Houssami makes and writes about theater. He is the founding director of Masrah Ensemble, a nonprofit theater organization in Lebanon, and the editor of English and Arabic editions of "Doomed by Hope: Essays on Arab Theatre" (Pluto Press and Dar Al Adab 2012). He has performed in dead Byzantine cities in Syria; directed bilingual theater productions that mingle migrant workers with traditional audiences in Lebanon; produced a monodrama in a 13th century Damascene mansion only to be banned from performing; and his play Mama Butterfly received a staged reading at Between the Seas festival (New York 2010). He is the managing editor of Portal 9: Stories and Critical Writing about the City, a bilingual cultural journal published in Beirut. His theater research efforts have culminated in invitations to present at conferences in South Africa and Korea and publication in peer-reviewed journals. He is the recipient of Rotary, Fulbright, Prince Claus Fund, and Young Arab Theatre Fund grants. He studied theater at Yale.

Saturday, April 6, 2013

Wednesday, April 3, 2013

Tuesday, April 2, 2013

Wednesday, March 13, 2013

Thursday, February 28, 2013 – Sunday, March 3, 2013

Tuesday, February 19, 2013

Friday, February 8, 2013

Tuesday, November 27, 2012

By Annie Dorsen
Fisher Center, LUMA Theater Tuesday, November 27 at 6 and 8 pm
Tickets: $20; $5 Bard community
Discussion after the 6 pm performance with Annie Dorsen and Maria Sachiko Cecire, coordinator of the Bard Experimental Humanities Program and assistant professor of literature

Hello Hi There uses the famous television debate between the philosopher Michel Foucault and linguist/activist Noam Chomsky from the seventies as inspiration and material for a dialogue between two custom-designed chatbots. Every conversation between the chatbots forges a unique path due to their custom-made software, which has been programmed to mimic the nuances of human conversation. The result is an unexpected, uncanny, and humorous meditation on what separates humans from machines. Obie Award–winning director and writer Annie Dorsen works in theater, film, dance, and digital performance. Her most recent work, Hello Hi There, premiered at the Steirischer Herbst festival (Graz), and was presented at Black Box Teater (Oslo), BIT Teatergarasjen (Bergen), Hebbel am Ufer (Berlin), and PS122 (New York), among others. She is cocreator and director of the 2008 Broadway musical Passing Strange. In 2009, she created two music theater pieces: Ask Your Mama, a setting of Langston Hughes’s 1962 poem, composed by Laura Karpman and sung by Jessye Norman and The Roots (Carnegie Hall), and ETHEL’s TruckStop, seen at the Brooklyn Academy of Music’s Next Wave Festival. In 2010, she collaborated with choreographer Anne Juren on Magical and with Juren and DD Dorvillier on Pièce Sans Paroles. In addition to numerous awards for Passing Strange, Dorsen has received several fellowships, notably the Sir John Gielgud Fellowship from the Society of Stage Directors and Choreographers. She has taught at New York University, Fordham University, and Playwright’s Horizons, and is a graduate of the Yale School of Drama.

Tuesday, November 13, 2012

Thursday, October 11, 2012

Thursday, April 19, 2012

Tuesday, March 20, 2012

by August Strindberg
Fisher Center, Studio North directed by Jean Wagner
translation by Wendy Weckwerth
performed by Bard Theater students Harry Beer, Leonie Bell, Tess Boris-Schacter, Milo Cramer, Sonia Feigelson, Morgan Green, Schuyler Helford, Ezra San Millan, Hannah Mitchell, Sheppard Pepper, Christian Scheider, Madeline Wise, and Layla Wolfgang.

A leader whose past glories have faded in glare of daily economic concerns; A violin-playing court fool; Counterfeit money in an economic crisis; An angry ghost. These are just a few threads in the tapestry of Karl XII (1901) by August Strindberg.

2012 is the centennial of August Strindberg, the Swedish dramatist, painter, essayist, alchemist, historian, poet, and alleged madman's death. Events around the world will celebrate his life and work. Karl XII and Strindberg's other history plays, all but unknown among English-speaking theater-makers, resonate with contemporary concerns and offer a largely unexplored view of his dramatic experiments. Combining the strategies of the established history play tradition with the associative logic of A Dream Play, Karl XII demonstrates the potential of performance as a way to comprehend, question, and explore history.

Wendy Weckwerth is a dramaturg, editor, and translator based in Minneapolis. As Dramaturg for Voice & Vision Theatre and in freelance capacities at The Playwrights' Center and elsewhere, she has an ongoing commitment to new-play dramaturgy and advocacy for contemporary performance practice. As a translator, she has recently completed translations of Strindberg's Erik XIV and Karl XII. Her commissioned translation of Ingmar Bergman’s Autumn Sonata screenplay was the basis for Robert Woodruff’s stage adaptation that premiered at Yale Rep in April 2011. She is a former Associate Editor of Theater Magazine, and has been on the faculties of Dartmouth, Colby, and Mount Holyoke Colleges. She joined Bard's Language & Thinking Program faculty in 2010. Wendy holds a DFA and MFA in dramaturgy and dramatic criticism from Yale School of Drama and a BA from Vassar College.

Thursday, March 15, 2012

Thursday, March 8, 2012

Thursday, March 8, 2012 – Sunday, March 11, 2012

Tuesday, March 6, 2012

Thursday, December 8, 2011

Thursday, November 10, 2011

Thursday, October 13, 2011

Sunday, May 1, 2011

Saturday, April 30, 2011

Friday, April 29, 2011

Thursday, April 28, 2011

Sunday, April 10, 2011

Saturday, April 9, 2011

Friday, April 8, 2011

Thursday, April 7, 2011

Sunday, February 27, 2011

Presented by Bard Theater
Fisher Center, LUMA Theater Free; reservations required: 845-758-7900

Devised by Jim Calder, the Continuum Company’s artistic director, The Natalya Piece combines two primary elements. The first is the story of the real-life relationship between Anna Politkovskaya and Natalya Estemirova, a Russian journalist and a Chechen human rights worker, respectively, who were both murdered after reporting on abuses in Chechnya. This narrative is then framed, expanded, and jarred by a Furies-like Chorus whose response to these women’s experiences is infused with historical and neurological research regarding the nature of compassion and Western reactions to stories of horror and genocide. The play strives to rip apart our sentimental notions of empathy as a key step towards human transformation and political activism.Co-directors Jim Calder and Eliza Baldi will lead an ensemble of Bard students through a Wikipedia-style “open source” process of creation — actors, singers, musicians, and designers will contribute research, character development, music, movement, and text, in an approach that resembles the Joint Stock method.The Continuum Company brought a previous work, Sliding Into the Beast(a theatrical exploration of child soldiers in Africa, based on the bookBeast of No Nation by Uzodinma Iweala) to Bard in 2008. The creation ofThe Natalya Piece will continue beyond the important Bard incarnation. The Continuum Company — including Continuum contributing artists Maggie Siff, Mia Barron, Nadia Bowers, Nina Arianda, and Lynn Hawley (a visiting professor in the Bard Theater Program) — is working with Epic Theater Ensemble to develop the piece further. The project will be in residency at the La Pietra Theater Festival in Florence, Italy, in the summer of 2011, and will continue its process of development through a series of NYC–based workshops and conferences. An Off-Broadway run of The Natalya Piece is anticipated for the fall of 2012.

Sunday, February 27, 2011

Saturday, February 26, 2011

Friday, February 25, 2011

Thursday, February 24, 2011

Bard Theater - Opening Night
Fisher Center, LUMA Theater Following tonight's performance (February 24) there will be a post-show discussion with creator and directors Jim Calder and Eliza Baldi with Jonathan Rosenberg, associate professor of theater at Bard College.Free; reservations required: 845-758-7900Devised by Jim Calder, the Continuum Company’s artistic director, The Natalya Piece combines two primary elements. The first is the story of the real-life relationship between Anna Politkovskaya and Natalya Estemirova, a Russian journalist and a Chechen human rights worker, respectively, who were both murdered after reporting on abuses in Chechnya. This narrative is then framed, expanded, and jarred by a Furies-like Chorus whose response to these women’s experiences is infused with historical and neurological research regarding the nature of compassion and Western reactions to stories of horror and genocide. The play strives to rip apart our sentimental notions of empathy as a key step towards human transformation and political activism.Co-directors Jim Calder and Eliza Baldi will lead an ensemble of Bard students through a Wikipedia-style “open source” process of creation — actors, singers, musicians, and designers will contribute research, character development, music, movement, and text, in an approach that resembles the Joint Stock method.The Continuum Company brought a previous work, Sliding Into the Beast (a theatrical exploration of child soldiers in Africa, based on the book Beast of No Nation by Uzodinma Iweala) to Bard in 2008. The creation of The Natalya Piece will continue beyond the important Bard incarnation. The Continuum Company — including Continuum contributing artists Maggie Siff, Mia Barron, Nadia Bowers, Nina Arianda, and Lynn Hawley (a visiting professor in the Bard Theater Program) — is working with Epic Theater Ensemble to develop the piece further. The project will be in residency at the La Pietra Theater Festival in Florence, Italy, in the summer of 2011, and will continue its process of development through a series of NYC–based workshops and conferences. An Off-Broadway run of The Natalya Piece is anticipated for the fall of 2012.

Friday, December 3, 2010

Sunday, November 21, 2010

Saturday, November 20, 2010

Friday, November 19, 2010

Thursday, November 18, 2010

Sunday, November 7, 2010

Saturday, November 6, 2010

Friday, November 5, 2010

Thursday, November 4, 2010

Sunday, October 17, 2010

Saturday, October 16, 2010

Friday, October 15, 2010

Thursday, October 14, 2010

Thursday, September 30, 2010

Thursday, September 30, 2010 – Saturday, October 2, 2010

Thursday, September 2, 2010

Tuesday, May 11, 2010

Thursday, May 6, 2010

Thursday, April 8, 2010

Tuesday, April 6, 2010

Monday, April 5, 2010

Friday, March 5, 2010

Thursday, February 25, 2010

Monday, February 22, 2010

Wednesday, February 17, 2010

Tuesday, January 26, 2010

Saturday, December 5, 2009

Thursday, November 19, 2009

Tuesday, November 17, 2009

Thursday, November 12, 2009

Monday, October 26, 2009

Thursday, October 15, 2009

Monday, October 5, 2009

Monday, September 21, 2009

Fisher Center T2 Conference Room VISIT FROM THE BRITISH AMERICAN DRAMA ACADEMY (BADA)

DAVID BYRON, faculty member of the British American Drama Academy, will be visiting Bard on Monday, September 21 from 5:00-6:00pm in the Fisher Center Conference Room. He will discuss the Study Abroad programs at BADA which enable Bard students to study acting in London or at Oxford for fully transferable credit and with financial aid. Anyone unable to attend may contact David at [email protected]

THE BRITISH AMERICAN DRAMA ACADEMY (BADA), based in London during the school year and at Oxford University during the summer, was founded to enable undergraduate and graduate students from around the world to study classical theater with leading actors and directors of the British stage. Working closely with members of the Royal Shakespeare Company, Theatre de Complicite and the National Theatre, students study voice production, scene study (Shakespeare, High Comedy, contemporary), mask work, stage combat, audition technique, movement, acting for the camera, theater history, directing, and drama criticism – and, in the case of the London Theatre Program, perform in fully mounted productions in professional venues in London under the direction of professional directors.

Recent teachers include Alan Rickman, Sir Ben Kingsley, Kevin Spacey, Sir Derek Jacobi, Fiona Shaw, Jeremy Irons, James Bundy (Dean of the Yale School of Drama), Deborah Warner, Mark Wing-Davey (Dean of NYU’s Tisch School of the Arts), John Barton (founder of the Royal Shakespeare Company), Michael Grandage (Artistic Director of the Donmar Warehouse and director of Jude Law's West End/Broadway Hamlet) and others. Central to the student’s education at BADA are weekly excursions to performances by the Royal Shakespeare Company and the Royal National Theatre in London. Classes are held in London during the autumn, winter and spring, and at Balliol College, Oxford, in July. Students are awarded the same, full credit as would be earned at Bard and any financial aid the student is currently receiving is applied to the cost of the program. The cost to Bard students of a term or two terms in the London program is identical to the cost incurred at Bard.

DAVID BYRON teaches British theater history at Yale and at BADA, both in London and at Oxford. A graduate of Yale and of the Central School of Speech and Drama in London, David was an actor in London, New York and Los Angeles for twenty years. His experience both as an American theater student training in London and as a teacher of those students at the present time makes him especially sympathetic to the concerns of anyone considering study abroad.

Log on to www.badaonline.com for more information.

Wednesday, September 9, 2009

Tuesday, September 1, 2009

Sunday, November 23, 2008

Saturday, November 22, 2008

Friday, November 21, 2008

Thursday, November 20, 2008

Thursday, October 16, 2008

Thursday, May 1, 2008

Tuesday, March 4, 2008

Thursday, December 13, 2007

Thursday, November 15, 2007

Thursday, October 11, 2007

Thursday, May 3, 2007

Wednesday, April 18, 2007

Fisher Center, Sosnoff Theater The Acting Company Presents Charlotte Bronte's JANE EYRE
Adapted by Polly Teale
Directed by Davis McCallum

Recognized as a masterpiece when it was published in 1847, Jane Eyre remains a startlingly modern blend of passion, romance and suspense.

"Jane Eyre, to me, is a story of containment and release, as Jane struggles from the imprisonment of her childhood toward an almost unthinkable goal of mature freedom," says director McCallum. "I think this is what led Polly Teale to twin Jane and Bertha [Mr. Rochester's mad wife] in her adaptation. In effect, Jane is two people. One is composed, quiet, appropriate, conventional, frozen; the other is wild, violent, rebellious, engulfed in flame. Jane is always fighting to control this devouring force within her, because she's afraid if she unleashes it, it may destroy her." Polly Teale's adaptation of Jane Eyre was originally performed in 1997 by Shared Experience Theatre Company at the Wolsey Theatre in Ipswich, England.

Hannah Cabell appears as Jane Eyre and Christopher Oden as Mr. Rochester and John Reed. The cast includes Jeffrey M. Bender as Mr. Brocklehurst, Mr. Rochester's Horse, and Richard Mason; Kelley Curran as Abigail, Helen Burns, Adele, and Mary Rivers; Mina Friedman as Cellist; Carie Kawa as Bertha; Amy Landon as Bessie, Grace Poole, Ingram, and Woman; Liv Rooth as Mrs. Reed, Mrs. Fairfax, Diana Rivers; and Matt Steiner as Pilot the Dog, Lord Ingram, St. John Rivers. The production team includes Neil Patel, scenic design; Christal Weatherly, costume design; Michael Chybowski, lighting design; Michael Freeman and Fitz Patton, music and sound.

Founded by John Houseman and Margot Harley in 1972, The Acting Company has been honored by the TONYs for Excellence in Theater and has won an Obie Award, Los Angeles Drama Critics Circle Award, Citibank's Excellence in Education Award, and two Audelco Awards. Hundreds of extraordinary actors–including Kevin Kline, Frances Conroy, Jesse L. Martin, Patti LuPone, David Ogden Stiers, Harriet Harris, David Schramm, Jeffrey Wright, Tom Hewett, Henry Stram, Keith David, and Rainn Wilsonï–began their careers touring with The Acting Company, which has brought 127 productions to millions of people in 48 states and nine foreign countries.

Friday, April 13, 2007

Saturday, March 24, 2007

Friday, March 23, 2007

Thursday, March 22, 2007

Thursday, March 8, 2007

Sunday, November 19, 2006

Thursday, October 12, 2006

Saturday, April 22, 2006

Saturday, April 15, 2006

Saturday, April 8, 2006

Thursday, March 16, 2006

Wednesday, March 15, 2006

Monday, March 6, 2006

Saturday, March 4, 2006

Saturday, February 25, 2006

Saturday, November 19, 2005

Monday, November 14, 2005

Sunday, November 13, 2005

Saturday, November 12, 2005

Saturday, October 1, 2005

Friday, April 8, 2005

Saturday, March 5, 2005

Friday, March 4, 2005

Saturday, February 19, 2005

Thursday, December 2, 2004

Friday, October 22, 2004

Friday, September 10, 2004

Thursday, April 29, 2004

Thursday, April 15, 2004

Wednesday, April 14, 2004

Saturday, April 10, 2004

Wednesday, March 24, 2004

Friday, March 19, 2004

Wednesday, March 17, 2004

Tuesday, March 16, 2004

Friday, March 12, 2004

Tuesday, March 9, 2004

What Is Intimacy Direction?

Talk with Cha Ramos on September 28th

Program News

Jack Ferver’s My Town Reviewed in the New York Times

Bard Student Production of Brecht’s Puntila and Matti Reviewed in the Millbrook Independent

Theater Events

Mad Forest Returns!

Solo Performance: April 10–13
Resnick Theater Studio

Devised Performances: April 17–20
LUMA Theater

Solo Performance: April 10–13
Resnick Theater Studio

Devised Performances: April 17–20
LUMA Theater

What Is Intimacy Direction?

News + Events

Program News

Two Bard College Professors Receive 2025 Andy Warhol Foundation Arts Writers Grant

Two Bard College Professors Receive 2025 Andy Warhol Foundation Arts Writers Grant

Jack Ferver’s My Town Reviewed in the New York Times

Jack Ferver’s My Town Reviewed in the New York Times

Bard Student Production of Brecht’s Puntila and Matti Reviewed in the Millbrook Independent

Bard Student Production of Brecht’s Puntila and Matti Reviewed in the Millbrook Independent

Jack Ferver’s Dance Performance My Town Included in a New York Times Roundup

Article by Miriam Felton-Dansky Wins Award From the University of Toronto Press

Beto O’Byrne Receives New York City Small Theatres Fund Award

Assistant Dean of Students Corey Sullivan ’03 Wins Obie Award

Bard College and Six Faculty Awarded New York State Council on the Arts Grants

Fisher Center Artist Justin Vivian Bond Named 2024 MacArthur Fellow

Theater Events

Archive of Past Events

Mad Forest Returns!

Solo Performance: April 10–13Resnick Theater Studio

Devised Performances: April 17–20LUMA Theater

Solo Performance: April 10–13Resnick Theater Studio

Devised Performances: April 17–20LUMA Theater

What Is Intimacy Direction?

Solo Performance: April 10–13
Resnick Theater Studio

Devised Performances: April 17–20
LUMA Theater

Solo Performance: April 10–13
Resnick Theater Studio

Devised Performances: April 17–20
LUMA Theater