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ZYZZYVA Events
March 7, 2019In Conversation with Carolyn Burke
Location: 7 p.m., City Lights Booksellers, 261 Columbus Ave., San Francisco
Description: Burke discusses her newest book, "Foursome: Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, Rebecca Salsbury" (Knopf), with Managing Editor Oscar Villalon. Free. More info here: https://bit.ly/2GeUNlA
March 28, 2019ZYZZYVA at AWP
Location: 10:30 a.m., Portland Ballroom 253-254, Oregon Convention Center, Level 2
Description: "Behind the Curtain: The Editors Speak!" with Alison Wright, executive editor of VQR; Emily Nemens, editor of The Paris Review; Karissa Chen, editor-in-chief at Hyphen, and Managing Editor Oscar Villalon. Moderated by Christian Kiefer. More info here: https://bit.ly/2HWVUIk
March 30, 2019ZYZZYVA at AWP
Location: 1:30 p.m., E143-144, Oregon Convention Center, Level 1
Description: "The Future of Criticism: A Conversation with Established and Emerging Critics" with Kate Tuttle, Ismail Muhammad, Jane Ciabattari, Hope Wabuke, and Managing Editor Oscar Villalon. More info here: https://bit.ly/2DYEyXz
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Tag Archives: Cutting Ball Theater
An Evolution Beyond Gender in the Wild West: Cutting Ball Theater’s ‘Sidewinder’
For the world premiere of Basil Kreimendahl’s hilarious and tenderhearted play Sidewinders (directed by M. Graham Smith), the Cutting Ball Theater in San Francisco has flipped its performance space, arranging the stands of chairs so the stage is deeper than it is wide. Papier mache clouds hang from the ceiling, casting shadows on the clouds painted on the walls, creating an illusion of depth (lighting design by Heather Basarab). The stage seems to open up in front of us on three sides. The set, designed by Michael Locher, is dotted with sandy colored, flat-topped stumps, like desert mesas in miniature. …Continue reading
Death and Jealousy: Q&A with Strindberg Translator Paul Walsh
On the occasion of the centennial of Swedish writer August Strindberg’s death, San Francisco’s Cutting Ball Theater will be performing all five of Strindberg’s Chamber Plays (Storm, Burned House, The Pelican, The Ghost Sonata, The Black Glove) in repertory from October 12 to November 18. The production will feature new translations of the Chamber Plays by Paul Walsh, professor of Dramaturgy and Dramatic Criticism at the Yale School of Drama. ZYZZYVA talks with Walsh, whose new translations are available from Exit Press, about the Strindberg Cycle and Strindberg’s significance to the arts. ZYZZYVA: How did you become a scholar and …Continue reading
The Scandal of Content: The Cutting Ball Theater’s ‘Tontlawald’
In devised theater, rather than starting with an already written script and finished production design as you would in traditional theater, the company creates text, music, movement, and design elements together as they go through the rehearsal process. Though there’s no devised aesthetic that defines it like a genre, devised work tends to be more physical, to make more use of every skill each actor possesses (singing, dancing, playing musical instruments). There’s also a strong preference for adapted material among companies that make devised work—maybe because this kind of experimental collaboration is easier if you at least know the outlines …Continue reading
Who’s Afraid of the Light?: The Cutting Ball Theater’s ‘Pelleas and Melisande’
The Cutting Ball Theater’s production of Maurice Maeterlinck’s Pelleas and Melisande (translated by director Rob Melrose) exploits a long, narrow, catwalk-style stage (designed by Michael Locher) to set up intense relationships among the characters. In an early scene, Golaud (Derek Fisher), the prince of Allemonde, comes upon Melisande (Caitlyn Louchard) weeping by a spring. Melisande kneels over a small rectangular pool set into the stage floor while Golaud stands far away from her at the opposite end—this relationship, in different permutations, is revisited again and again. Charmed by her beauty and strangeness, Golaud marries Melisande and takes her to live …Continue reading
