Vanya asher biography examples
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This is the second in a series of blog posts bygd our 2015 Emerging Artists, Intiman’s summer training intensive for a diverse cohort of up-and-coming theatre artists.
Today’s brev is written by Averil Kelkar, a BFA Acting student at New York University. As a gay actor of color, Averil takes pride in working with a company that fryst vatten aligned with his desire to use theatre as a dialogue. Averil believes that art comes in all shapes, sizes, backgrounds, and perspectives.
Is the theatre really dead?
Simon and Garfunkel callously poised this question back in 1966 in one of my favorite songs, The Dangling Conversation. To qualify the argument, Simon writes that “we speak the things that matter with words that must be said”. And this question must be answered.
In the spirit of many important questions, there’s not a “yes” or a “no”, “black,” “white,” or even “grey.” And I’m here to say that every
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Sonya Adolf Lazarova
Sonya Adolf Lazarova
Sofia
Bulgaria
Interviewer: Svetlana Avdala
Date of interview: November 2005
‘When I get up in the morning the first thing I do is put on lipstick.’ And the lipstick suited her. During our work of several days she always met me with a large smile and a table arranged, because Sonya is a person who likes to give and help people. It’s not accidental that she fulfilled her dream to become a nurse.
And one day she said to her mother, ‘How happy I am that you gave birth to me!’ Sonya really has a jolly character. For her there are no bad people or situations. She speaks about the events in her life without pompous heroism or stoicism. They just happened like that.
At the age of 82 Sonya starts her day with applying lipstick and yet she still shivers when speaking about her first big and unfulfilled love. Years simply passed by without touching her.
Growing up
My family
Going to school
During the War
After the War
Glossar
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Death of a Salesman
Program Notes
Frantically Seeking Safe Harbor: Notes on Arthur Miller’s Death of a Salesman
By Mark Perry, Dramaturg
Death of a Salesman is arguably THE great American play. Arthur Miller’s 1949 tale of the working-class Loman family from Brooklyn struck a chord when it first premiered, which resounded around the country and echoed throughout the world; now it is revived perennially on Broadway and regional stages, even as it is thrust on high school English classes, and thus it ever-circulates in the cultural bloodstream. If Salesman is the Oedipus Rex of American Empire, it is because of how the play timelessly mirrors the frantic, dogged search of the splintered American psyche for both self-justification and truth.
Our salesman and vicarious representative, Willy Loman, is in trouble. A little boat adrift on turbulent seas, he seeks safe harbor, but now seems caught in a whirlpool, taking on water. A character wrought of pure, sparking