[NEohioPAL]Karamu House was used as a model in the 2005 Theatre Pudget Sound Fall Forum, "Theatre in a New Box" Oct. 22- 23 held in Seattle, Washington

[Performing Arts]

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2005 Theatre of Puget Sound (TPS) Fall Forum "Theatre in a New Box: =
reinvigorating our work and our community"

Dr. Daniel Banks, Theatre Professor at  New York University Tisch School =
of the Arts used Karamu House as a model in the recent 2005 Theatre of =
Puget Sound (TPS) Fall Forum "Theatre in a New Box: reinvigorating our =
work and our community"on October 22-23 in Seattle, Washington.=20

He stated...

"I am writing because I was asked to lead a Plenary session at the =
upcoming Theatre of Puget Sound gathering on October 23.  The title of =
the session in WHOSE/WHO'S THEATRE.  I am going to use the time to open =
a discussion about alternative models for audience engagement in the =
life of a theatre, including season selection and audience development.  =
I am going to start with a more philosophical conversation, drawing =
primarily on Paolo Freire's ideas from PEDAGOGY OF THE OPPRESSED, to =
begin thinking about the implicit hierarchies involved in the =
traditional regional theatre model, as it currently stands, and where =
institutions might begin to "think out of the box" (the conference =
theme) in creating their theatres as institutions that serve a community =
with the community's involvement.  In so doing, I would like to point to =
certain theatres who have attempted to engage their audiences in unique =
and specific ways.  My goal is not to suggest that any model is better =
than another, but to open a dialogue with the convening about things =
they have tried that have both worked and failed, would like to try, are =
afraid to try, etc.. I would love to get your input in regards to the =
amazing work you are doing at Karamu."  - Dr. Daniel Banks=20
=20
Who are we doing theatre for? Ourselves or our communities, or a =
combination of both?

Daniel Banks will explore different models for engaging - and even =
directly involving - audiences in season programming. Building on a =
conversation that began at the TCG Conference in June, and incorporating =
the experiences of local and national arts organizations, Dr. Banks will =
open a discussion with the Fall Forum participants as to the various =
roles of theatres in their communities and possible alternate models for =
bridge-building within and beyond their current constituencies.

DANIEL BANKS BIO
Daniel Banks has directed and choreographed extensively in the U.S. and =
abroad. Directing credits include Anna in the Tropics (Belarussian Drama =
Theatre, Minsk); the world premiere of Beautiful Warrior, an opera for =
family audiences by Chinese composer Jin Xiang (produced by the Vineyard =
Theatre); Jitney (National Theatre of Uganda, Kampala); the U.K. =
premiere of John Guare's play Bosoms and Neglect (Teatro Technis, =
London); Countee Cullen's Medea (Williams College); and the musicals =
Avenue X and The Cradle Will Rock for the Undergraduate Drama =
Department, New York University. Daniel also adapted and directed =
Detained, the prison memoirs of Kenyan writer and dissident, Ngugi wa =
Thiong'o, as the inaugural production of NYU's Department of Art and =
Public Policy. His movement and choreography work includes an =
international production of Hamlet for the Singapore Repertory Theatre, =
Troilus and Cressida and All's Well that Ends Well (N.Y. Shakespeare =
Festival), Henry VI and Measure for Measure (Theatre for a New =
Audience), Really Rosie with Maurice Sendak (SUNY Purchase), and The =
Magic Flute (La Monnaie, Brussels, and the Landestheater, Salzburg). =
Daniel works closely with the New York City Hip Hop Theatre Festival, =
for whom he has directed workshops and readings, served as Education =
Director, and curated and hosted numerous panels. He is full-time =
faculty in the Department of Drama, New York University, and a recipient =
of both the Drama League's Special Interest Residency grant for his work =
in Paris with Monika Pagneux and of the National Endowment for the =
Arts/Theatre Communications Group Career Development Program for =
Directors. He holds a Ph.D. in Performance Studies from NYU.


Theatre Puget Sound is a trade and service organization founded in 1997 =
to promote the spiritual and economic necessity of theatre to the =
public, and to unify and strengthen the theatre community through =
programs, resources and services.=20
TPS exists to:=20
  a.. nurture a healthy and vibrant theatre community

  b.. to develop strong ties among the region's theatre professionals

  c.. to raise visibility of this region's theatre scene at the local, =
national, and international levels


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<DIV><FONT face=3DArial size=3D2>
<DIV><FONT face=3DArial size=3D2>
<DIV><STRONG><FONT size=3D3>2005 Theatre of Puget Sound (TPS) Fall=20
Forum "Theatre in a New Box: reinvigorating our work and our=20
community"</FONT></STRONG></DIV>
<DIV> </DIV>
<DIV>Dr. Daniel Banks, Theatre Professor at  New York University =
Tisch=20
School of the Arts used Karamu House as a model in the recent 2005 =
Theatre=20
of Puget Sound (TPS) Fall Forum "Theatre in a New Box: =
reinvigorating our=20
work and our community"on October 22-23 in Seattle, Washington. =
</DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">He =
stated...</SPAN></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"></SPAN></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">"I am writing because I =
was asked to=20
lead a Plenary session at the upcoming Theatre of Puget Sound gathering =
on=20
October 23.  The title of the session in WHOSE/WHO'S THEATRE.  =
I am=20
going to use the time to open a discussion about alternative models for =
audience=20
engagement in the life of a theatre, including season selection and =
audience=20
development.  I am going to start with a more philosophical=20
conversation, drawing primarily on Paolo Freire's ideas from PEDAGOGY OF =
THE=20
OPPRESSED, to begin thinking about the implicit hierarchies involved in =
the=20
traditional regional theatre model, as it currently stands, and where=20
institutions might begin to "think out of the box" (the conference =
theme) in=20
creating their theatres as institutions that serve a community <B><SPAN=20
style=3D"FONT-WEIGHT: bold">with</SPAN></B> the community's =
involvement.  In=20
so doing, I would like to point to certain theatres who have attempted =
to engage=20
their audiences in unique and specific ways.  My goal is not to =
suggest=20
that any model is better than another, but to open a dialogue with the =
convening=20
about things they have tried that have both worked and failed, would =
like to=20
try, are afraid to try, etc.. </SPAN></FONT><FONT face=3DArial =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">I would love to get your =
input in=20
regards to the amazing work you are doing at Karamu."  - Dr. =
Daniel=20
Banks</SPAN></FONT><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><?xml:namespace prefix =3D =
o ns =3D=20
"urn:schemas-microsoft-com:office:office"=20
/><o:p> </o:p></SPAN></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT> </DIV>
<DIV><STRONG>Who are we doing theatre for? Ourselves or our communities, =
or a=20
combination of both?</STRONG></DIV>
<DIV class=3DMsoNormal> </DIV>
<DIV class=3Dff_ttl_4>Daniel Banks will explore different models for =
engaging -=20
and even directly involving - audiences in season programming. Building =
on a=20
conversation that began at the TCG Conference in June, and incorporating =
the=20
experiences of local and national arts organizations, Dr. Banks will =
open a=20
discussion with the Fall Forum participants as to the various roles of =
theatres=20
in their communities and possible alternate models for bridge-building =
within=20
and beyond their current constituencies.</DIV>
<DIV class=3Dff_ttl_4> </DIV>
<DIV><U>DANIEL BANKS BIO</U></DIV>
<DIV class=3Dff_ttl_4>Daniel Banks has directed and choreographed =
extensively in=20
the U.S. and abroad. Directing credits include Anna in the Tropics =
(Belarussian=20
Drama Theatre, Minsk); the world premiere of Beautiful Warrior, an opera =
for=20
family audiences by Chinese composer Jin Xiang (produced by the Vineyard =

Theatre); Jitney (National Theatre of Uganda, Kampala); the U.K. =
premiere of=20
John Guare's play Bosoms and Neglect (Teatro Technis, London); Countee =
Cullen's=20
Medea (Williams College); and the musicals Avenue X and The Cradle Will =
Rock for=20
the Undergraduate Drama Department, New York University. Daniel also =
adapted and=20
directed Detained, the prison memoirs of Kenyan writer and dissident, =
Ngugi wa=20
Thiong'o, as the inaugural production of NYU's Department of Art and =
Public=20
Policy. His movement and choreography work includes an international =
production=20
of Hamlet for the Singapore Repertory Theatre, Troilus and Cressida and =
All's=20
Well that Ends Well (N.Y. Shakespeare Festival), Henry VI and Measure =
for=20
Measure (Theatre for a New Audience), Really Rosie with Maurice Sendak =
(SUNY=20
Purchase), and The Magic Flute (La Monnaie, Brussels, and the =
Landestheater,=20
Salzburg). Daniel works closely with the New York City Hip Hop Theatre =
Festival,=20
for whom he has directed workshops and readings, served as Education =
Director,=20
and curated and hosted numerous panels. He is full-time faculty in the=20
Department of Drama, New York University, and a recipient of both the =
Drama=20
League's Special Interest Residency grant for his work in Paris with =
Monika=20
Pagneux and of the National Endowment for the Arts/Theatre =
Communications Group=20
Career Development Program for Directors. He holds a Ph.D. in =
Performance=20
Studies from NYU.<BR></DIV>
<DIV class=3Dff_ttl_4><SPAN class=3Dmission></SPAN><SPAN =
class=3Dmission></SPAN><SPAN=20
class=3Dmission></SPAN> </DIV>
<DIV class=3Dff_ttl_4><SPAN class=3Dmission>Theatre Puget Sound is a =
trade and=20
service organization founded in 1997 to <A=20
href=3D"http://seattleperforms.com/"><U><FONT =
color=3D#0000ff>promote</FONT></U></A>=20
the spiritual and economic necessity of theatre to the public, and to =
unify and=20
strengthen the theatre community through programs, resources and=20
services.</SPAN> </DIV>
<DIV class=3Dboxbody>
<DIV align=3Dleft><B>TPS exists to: </B></DIV>
<UL>
  <LI>
  <DIV align=3Dleft><B>nurture a healthy and vibrant theatre=20
  community<BR></B></DIV>
  <LI>
  <DIV align=3Dleft><B>to develop strong ties among the region's theatre =

  professionals<BR></B></DIV>
  <LI>
  <DIV align=3Dleft><B>to raise visibility of this region's theatre =
scene at the=20
  local, national, and international levels</B></DIV></LI></UL>
<DIV><BR></DIV></DIV></FONT></DIV></FONT></DIV></BODY></HTML>

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