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컬처허브와 라 마마 실험창작단이 Theatre in Quarantine 과 협력하여 The Little Hours 를 선보입니다.

The Little Hours 는 두 명의 시인 친구가 자신의 삶을 탐색하는 연극 설치입니다. 그들의 우정 사이의 섬세하고 취약한 공간을 들여다보며, 그들 중 하나가 아프게 될 때, 다른 하나가 그들의 공유된 생각과 기억을 설정하도록 위임됩니다.

결코 돌아오지 못할 수도 있는 예술가 보헤미안 뉴욕의 흩어진 스냅샷 속에서 신앙과 사랑, 은혜를 탐구합니다. 우리는 세상이 무너지는 동안에도 급진적인 유토피아를 위해 리틀 아워스(the little hours) 동안 꿈을 꾸고 있습니다.

The Little Hours 컬처허브와 라 마마 실험창작단의 디지털 스토리텔링 프로그램의 일환으로 제작됩니다. 디지털 스토리텔링은 디지털 유통 플랫폼을 활용하고 온라인 시청자 참여를 확대하며 현재의 예술적 형태를 넓어주는 스토리 중심의 작품을 인큐베이션하는 실험입니다.

협업 퍼포먼스를 위한 브라우저 기반의 미디어 라우터인 컬처허브의 라이브랩을 통해 구동됩니다.

시청하려면 컬처허브의 영상 페이지를 확인해주세요.

2021년 5월 20일 목요일
오후 7시 EDT & 오후 9시 EDT / 오후 4시 PDT 및 오후 6시 PDT

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The Little Hours
Written by Caridad Svich

CULTUREHUB / LA MAMA
Lead Technician — DeAndra Anthony
Creative Technologist — Sangmin Chae
Video Production — Jean Garcia
Creative Producing — Mattie Barber-Bockelman, Billy Clark

THEATER IN QUARANTINE
Direction — Joshua William Gelb
Choreography — Katie Rose McLaughlin
Performers — Joshua William Gelb, Keith McDermott
Video Design — Joshua William Gelb
Sound — Kate Marvin
Dramaturgy – Sarah Rose Leonard
MiQ Software – Alex Hawthorn
Creative Producing – Morgan Lindsey Tachco
Intern — Julia Labusch

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Caridad Svich received a 2012 OBIE for Lifetime Achievement. Her work as a playwright, translator, lyricist, and essayist has been seen in print, live theatre and digital stages at diverse venues across the US and abroad. Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls…, Red Bike and The House of the Spirits (based on Isabel Allende’s novel). Recent premieres include The Book of Magdalene and Theatre: a love story. As a screenwriter, her first feature film ( as co-screenwriter, based on her play) Fugitive Dreams has been seen at the Fantasia, Austin, Tallinn Black Nights, Manchester (UK) and Maryland Film Festivals.

Among her recognitions are an American Theatre Critics Association Primus Prize, the Edgerton Foundation New Play Award, and National Latino Playwriting Award (which she has received twice). She is founder of NoPassport theatre alliance and press and an editor at Contemporary Theatre Review. They have edited several books on theatre. Her most recent book is on Hedwig and the Angry Inch (Routledge). She was awarded the 2018 Ellen Stewart Award for Career Achievement in Professional Theatre from the Association for Theatre in Higher Education.

Keith McDermott began his professional career at the Shakespeare Festival in Stratford, Connecticut. On Broadway, he starred opposite Richard Burton in Equus, played Harold in Harold and Maude and Tom in the Christopher Isherwood play Meeting by the River. He has worked at many Off Broadway theaters, including Playwrights Horizons, Manhattan Theatre Club and The Roundabout. He has worked in New York, Europe, Russia and Japan with the avant garde director, Robert Wilson. For fifteen years, he directed the plays of Jim Neu, most of them at La MaMa ETC. Mr. McDermott is also a writer. His novel, Acqua Calda, was shortlisted for a Lambda Award and a Gay & Lesbian National Book Award. A memoir essay on his Equus experience, The Boy In Burton’s Shadow, has been optioned for film.

Joshua William Gelb is an East Village-based director, performer, and librettist currently building theater out of his converted closet christened the Theater in Quarantine. Prior to the pandemic, Gelb created the musical interrogation of the 1927 Al Jolson film Jazz Singer (New Yorker critic’s pick) which was commissioned and built-in residence at Abrons Arts Center with Nehemiah Luckett. Previously in residence at Abrons, Gelb conceived and directed the sesquicentennial anniversary reimagining of America’s supposed first musical The Black Crook (NYT Critic’s Pick), about which he lectured at Harvard University's Houghton Library. His Drama Desk-nominated adaptation of A Hunger Artist, created with Sinking Ship, continues to tour. Other work has been presented at Ars Nova, LMCC Process Space, New Ohio, Joe's Pub, Polyphone Festival, and Target Margin. Gelb participated in the Lincoln Center Directors Lab, is an associate artist with Sinking Ship, and teaches Theater Collaboration at Cooper Union. Visit joshuawilliamgelb.com for more information.

Katie Rose McLaughlin is an NYC-based choreographer originally from Minneapolis, MN. Katie Rose is the Associate Choreographer of the Tony-award winning Broadway show Hadestown directed by Rachel Chavkin and choreographed by David Neumann.
 Her choreography has been presented by The Chocolate Factory, Catch, the Invisible Dog Art Center, HERE Arts Center, newMoves Contemporary Dance Festival, Movement Research at Judson Church, and the International Festival of Art & Ideas. She was an artist-in-residence at LMCC’s Process Space, Dance Lab New York, Kaatsbaan International Dance Center, the Barn Arts Collective, and LMCC’s SPARC program. Notable theater credits include Orlando (Williamstown Theatre Festival), Indecent (Weston Playhouse), Bear Slayer (Ars Nova), and The Black Crook (Abrons Arts Center).  In 2013, she co-founded and became the Artistic Director of Designated Movement Co., a dance/theater company interested in blurring the lines between forms. Visit Katierosemclaughlin.com for more information.

Theatre in Quarantine is a performance laboratory dedicated to the exploration of the live theatrical experience in the digital space. Developed in response to the pandemic by Founder/Co-Creative Director Joshua William Gelb and Co-Creative Director Katie Rose McLaughlin, TiQ has developed and live streamed over 25 new, original works of performance in the last year alone. TiQ has worked with an array of remote collaborators (including Raja Feather Kelly, Heather Christian, Karen Olivo, and Underground Railroad Game’s Scott R. Sheppard); and has been established as one of the most consistent makers of digital performance, having been featured in The New York Times, The New Yorker, Vulture, on NPR’s All Things Considered; and reached audiences across the globe. Their work has been called "Virtuosic" by Jesse Green in the New York Times, who wrote, "The closet has produced some of the new medium’s most imaginative work." Helen Shaw in Vulture wrote that the closet “makes confinement a virtue, a prompt to imagination.” TiQ’s full archive can be found and streamed anytime on their YouTube channel at youtube.com/theaterinquarantine.