Aaron, Stephen 270, 294n. 8
Abdoh, Reza 35, 49
Actors Theatre of Louisville 8, 48, 78, 94, 133, 237–238, 272–273, 296n. 21
Aizawa, Akiko 93, 202, 203, 259
Akalaitis, JoAnne 18, 48
American Repertory Theatre 18, 48, 61, 105, 112
Anderson, Laurie 133, 133, 139
Araiza, J. Ed 94, 202, 203, 301n. 17, 301n. 21
Baker, Suzi 17
Barall, Michi 261
Beavers, Wendell 111, 112
Bentley, Eric 16, 145
Betsoyaku, Minoru 86
Bihr, Jeffrey 91
bobrauschenbergamerica
characters in play 172, 176–178, 211–214, 239–240
as collage, theatrical “combine” 3–4, 200–201, 217–218, 231–232, 242, 243–244, 257–258, 269, 272
critical reception 258–260, 272–273, 296
dance sequences 221, 244, 247, 249, 254, 255, 257
development of script: early drafts of script 179–182, origins of project 2, 163–164, playwriting workshop 173–178, pre-production draft 192–197, rehearsal draft 216–217, and student compositions 189–192, 195–196
and freedom, as theme and feeling 4, 228, 257, 274
“Martinis” scene 9, 203, 246–247, 259, 269
rehearsal and production process: casting process 202–207, costumes 211–214, design process 209–216, first reading 184–185, first rehearsals 219–222, 226–228, first run-through 232, last-minute changes 232–236, scenic design, the flag set 210–211, 215–216, 238, 269, 270, 271, 294, sound and lighting design 214–215, table work 199–201
revivals 270–274
“Viewpoints” scene 201–202, 226, 235–236
world premiere 237: in context of Humana Festival 237–238
Bogart, Anne
affinities with Charles Mee 4, 39, 103, 188–189, 274
audience, idea of 6, 41, 52, 134, 200, 223, 273, 297
biography 42–48
as co-founder of SITI Company 90–91
directing principles and practices 6, 37–38, 95–96, 102, 221, 223–224, 235
directing projects, by category 38–39
“Essay Theater” 95–96
Exit Art Gallery retrospective 35–37, 38–39
and site-specific theater 51–53, 273, 297n. 29
and Tadashi Suzuki 86, 90
and Trinity Repertory Company 47–48, 296n. 19
Bogart, Anne productions (non-SITI Company)
1951 (Wellman and Bogart) 45
Adding Machine (Rice) 36
American Vaudeville (Bogart and Landau) 48
Another Person is a Foreign Country (Mee) 49, 54–58
Artourist 111, 304
Baltimore Waltz (Vogel) 48
Behavior in Public Places 95
Danton's Death (Büchner) 40, 126
Emissions Project 52
Gertrude and Alice: A Likeness to Loving 133, 304n. 1
History, An American Dream 45
In the Eye of the Hurricane (Machado) 48
In the Jungle of Cities (Brecht) 48
Inhabitat 51
Knocks, A Collection 39
Lower Depths (Gorky) 39
Making of Americans (Stein, Carmines and Katz) 45
Marathon Dancing 58
No Plays No Poetry 46, 47, 95
On the Town (Bernstein, Comden and Green) 40, 42, 48
Once in a Lifetime (Kaufman and Hart) 48
Out of Sync 6, 52, 273, 297n. 29
Sehnsucht 45
Songs and Stories from Moby Dick 133, 305 n. 1
South Pacific 40
Spring Awakening (Wedekind) 40
Summerfolk (Gorky) 47
Women, The (Boothe Luce) 36, 49
Bogart, Anne SITI Company productions
see SITI Company productions
Bond, Will 90, 91, 93, 134, 137, 140, 142, 202, 203, 206, 207, 263, 266, 301n. 17, 301n. 21
Brandon, James R. 89
Brecht, Bertolt 46, 145–146, 156, 305n. 8
Brooklyn Academy of Music 8, 105, 271–272, 294
Brosius, Peter 18
Brown, Rebecca 174, 176, 228
Brown, Trisha 51, 106, 190
Brustein, Robert 16, 18
Corkins, Mark 301n. 17
Cage, John 1, 2, 106, 167, 311n. 14, 311n. 15
Castle, James 266
Caucasian Chalk Circle (Brecht) 145–146, 147–148, 305n. 8, 306n. 13, 306n. 15
Chapman, Linda 5, 133, 304
Chekhov, Anton 52, 98
Chen Shi-Zheng 267
Clarke, Jocelyn 132
Clarke, Martha 18, 19, 20, 266
Comfort, Jane 174, 176–177, 228
Composition 5, 104, 108, 115, 125–129, 133, 189–192, 304n. 16
Cook, Carol 232
Cornell, Joseph 266
Corrigan, Robert 16
Cunningham, Merce 2, 106, 167, 170, 271, 295, 304n. 16, 308n. 13, 311n. 14
Damrauer, Tom 84
Davidson, Gordon 18, 60
Davis, Danyon 206
De Bono, Edward 199, 310n. 1
Dillon, John 89
Dixon, Michael Bigelow 237
Duffy, Alec 174
En Garde Arts 49–51, 53, 58–59, 61
Fisher, Jeanne Donovan 73, 157, 261, 298n. 11
Fisher, Richard B. 157, 307n. 23
Foreman, Richard 35
Fornes, Maria Irene 47
Gai, Tali 171, 174
Gallo, Paul 19
Gianino, Gian Murray 207, 219
Gilman, Richard 16
Goldhammer, Jackie 174
Greenberg, Clement 267
Greenblatt, Stephen 267
Haj, Joseph 91
Hall, Adrian 43, 47, 296n. 16, 296n. 18
Halpern, Jeff 47
Hamburger, Anne see En Garde Arts
Hill, Eric 90, 91, 93
Herman, Reba 174
Hewitt, Tom 89, 91
Hightower, Susan 90, 91, 300n. 11, 313n. 2, 313n. 5
Humana Festival of New American Plays see Actors Theatre of Louisville
Hunter, Victoria 47
Iizuka, Naomi 132
Israel, Robert 19
Ingulsrud, Leon 87, 93, 202, 203, 206, 218, 228, 239, 259, 300, 313, 300nn. 4, 9
Jo-ha-kyu 130–131, 227, 259, 304n. 25
Jory, Jon 48, 219, 296n. 16
Jucha, Brian 47, 313
Judson Dance Theater 110, 167, 190, 211, 302n. 3
Klüver, Billy 168
Kulick, Brian 63
Landau, Tina 47, 48, 59, 61, 72, 112, 130, 132, 298n. 4
Lauren, Ellen 90, 91, 93, 102, 105, 134, 137, 140, 142, 184, 199, 200, 201, 202, 203, 227, 263, 266, 300n. 11, 301n. 13, 301n. 17
Linklater, Kristin 302n. 1
MacLane, Mary 153
MacLeish, Archibald 16
Malaczech, Ruth 263, 266
Masterson, Marc 219, 238
Maurer, Kelly 90, 91, 93, 134, 137, 140, 199, 200, 202, 203, 206, 227, 228–231, 266, 301n. 17, 301n. 21
Mays, Jefferson 93, 134, 203, 301n. 21, 310n. 6
McLuhan, Marshall 95–96, 128
Melillo, Joseph V. 271, 294
Mee, Charles
affinities with Bogart 4–5, 39, 103, 188–189, 274
American Century plays 14, 30–31
biography 18 polio 15–16, 33
finding a patron 157–158
Greek tragedy, adaptation of 60–61, 68, 83–84
as historian 13–14, 29, 31–32
Dear Prince: The Unexpurgated Counsels of N. Machiavelli to Richard Milhous Nixon 17
The End of Order: Versailles 1919 24
Genius of the People 26
Meeting at Potsdam 13
Playing God: Seven Fateful Moments When Great Men Met To Change the World 31
influence of Brecht 146–147
plays as tragedy or comedy 77, 83–84, 262–263
playwriting principles and practices 5–6, 20, 32–34, 60–61, 85, 176, 177–178, 179–180, 186–189
remaking, concept of 5, 67, 84, 133, 304
on Robert Rauschenberg 3
use of borrowed texts, quotations 14, 20, 133, 172–173, 205–206
website 84–85
Mee, Charles individual plays
Another Person is a Foreign Country 54–58
Anyone! Anyone! 16, 270, 294n. 8
Belle Époque 267
Berlin Circle see Full Circle
Big Love 78–83, 132, 262, 291
Cardenio 267
Constantinople Smith 16
The Constitutional Convention: A Sequel 26–28, 29, 271–272, 294n. 16, 294n. 19
Fêtes de la Nuit 261–262
First Love 262
Full Circle 132–133, 144–157
Hotel Cassiopeia 266
The Imperialists at the Club Cave Canem 20, 28–30, 271, 294n. 16
The Investigation of the Murder in El Salvador 18, 22–24, 27, 57, 271, 294, 298n. 6
Limonade Tous les jours 168, 262
The Mail Order Bride 267
Orestes 2.0 7, 58, 59, 60, 61–68, 91, 204, 298n. 2, 298n. 3
A Perfect Wedding 262, 263, 266, 298n. 6
Players’ Repertoire 16
Snow in June 267
soot and spit (the musical) 266
Summer Evening in Des Moines 205, 206
Summertime 205, 206, 262, 264–266
Time to Burn 132
The Trojan Women: A Love Story 7, 59, 68–72, 224
True Love 7, 72–78, 262, 264, 298n. 11
Under Construction 266
Utopia Parkway 267
Vienna: Lusthaus 18–20, 266, 298n. 6, 7
The War to End War 24–26, 133, 147, 271, 294n. 16
Wintertime 262, 263, 264, 266
Mee, Charles L. III 17
Mee, Erin B. 17, 21, 29, 31–32
Monk, Meredith 35, 51
Moreau, Elizabeth 106, 219
Moredock, George E. III 270, 293
Morrison, Philip 171–172
Müller, Heiner 60, 147, 149, 154, 156, 158, 297n. 2
Nelis, Tom 55, 91, 93, 96, 102, 105, 184, 185, 202, 203, 206, 301n. 17
Neumann, Frederick 263, 266
O'Connor, Sara 89
O'Doherty, Brain 243
O'Hanlon, Barney 41, 93, 134, 137, 141, 196, 202, 203, 221, 223–224, 262, 264, 266, 301n. 21
On The Road (Kerouac) 178, 181, 194, 210, 309n. 21,
Our Town (Wilder) 180, 185, 186, 229
Overlie, Mary 110–111, 112, 303n. 8
Palmer, Tanya 219, 222, 224–225
Papp, Joseph 18, 20
Pasholinski, Lola 133, 147
Passloff, Aileen 126, 304n. 16
Patel, Neil 41, 209
Paxton, Steve 190, 214–215, 311n. 15
Peaslee, Richard 19
Rachels 262, 264
Rabinowitz, Scott 91
Rauschenberg, Robert 1–2, 200, 211, 302n. 3, 307n. 1, 308n. 13, 311n. 14
biography 165–170
combines, combine paintings 161, 217
Guggenheim retrospective 163, 307n. 2
and “the flatbed picture plane” 267–269, 271, 294
and “the vernacular glance” 243–244, 250, 262, 264
Rauschenberg Overseas Culture Interchange (ROCI) 169–170
Rauschenberg, Robert individual works
1/4 Mile or Two Furlong Piece, The 170
Automobile Tire Print 1, 268
Bed 161, 268
Canyon 313n. 10
Erased de Kooning Drawing 1, 268, 270, 293n. 2
First Time Painting 199, 201
Gold Standard 313n. 10
Interloper Tries His Disguises (Kabal American Zephyr), The 313n. 10
The Lily White 268
Money Thrower 168
Monogram 161, 218, 268
Pegasus' First Visit to America in the Shade of the Flatiron Building 311n. 14
Pelican 167
San Pantalone (Venetian) 313n. 10
Short Circuit 311n. 14
Sor Aqua (Venetian) 309n. 16
Soundings 168
Spring Training 168, 248
Synapsis Shuffle 170–171
Trophy IV (for John Cage) 313n. 10
Washington's Golden Egg 217
Rhoades, Jason 266
Robbins, Sanford 89
Rockwell, Norman 266
Rogoff, Gordon 16
Sanchez, Karenjune 93, 102, 134, 301n. 21
Saratoga International Theater Institute see SITI Company
Scharbau, Puk 301n. 17
Schechner, Richard 16, 35, 44, 51, 271, 295n. 23
Schuette, James 209, 210
Schumann, Peter 35
Schweizer, David 21, 61
Scott, Brian 209, 214, 219, 220, 224, 225, 227, 235
Serban, Andrei 35
Shawn, Wallace 18
Shepard, Tina 91
Sherin, Mimi Jordan 209
Shiraishi, Kayoko 87
show people: Downtown Directors and the Play of Time 35
Shue, Larry 300n. 6
Site specific theater see En Garde Arts; Bogart
SITI Company
company principles and practices 6–7, 97–98, 104–105, 217–218 221–223, 224, 225
layering of texts 6, 106–107
origins, founding of company 90–91
rehearsal principles and practices 221–223, 224, 225
Summer Intensive 109–110, 129, 183–184, 191
table work 198–199, 201–202
and training 108–110, 124–125, 303n. 14
SITI Company productions
Bob 263, 266
Cabin Pressure 132–144, 184, 219, 220, 273, 297
Culture of Desire 2, 103
Death and the Ploughman (von Saaz) 105, 262, 264–266
Going, Going, Gone 91, 95, 101–102, 219, 220
Hay Fever (Coward) 41, 263
La Dispute (Marivaux) 41, 105, 129, 271, 294
Medium the, 91, 95, 96–98, 219, 220, 263, 266, 301n. 17
Midsummer Night's Dream (Shakespeare) 105
Nicholas and Alexandra (Drattel) 105
Orestes 2.0 (Mee) 58, 91
Reunion 105, 106, 129
Room 184, 263, 266, 305n. 1
Score 105, 266
Small Lives, Big Dreams 91, 95, 98–99, 263, 266
systems/layers 105, 262, 264
War of the Worlds (Iizuka) 184
War of the Worlds: Radio Play (Koch) 105, 184
Smith, Anna Deavere 172
Smith, Carolyn Clark 174
Smith, Molly 47
Smith, Regina Byrd 91
Stamford Center for the Arts 216, 270, 271, 294
Steinberg, Leo 217–218, 267–269
Suzuki Company of Toga (SCOT) 87, 89
Suzuki Method of Actor Training 88–89, 108, 117–124
basic exercises 120–121
speaking, emphasis on 121–125
“Stomping Shakuhachi” and “Slow Ten” 122–123
Viewpoints, relationship to 124–125
“walks” and “statues” 121
Suzuki, Tadashi 6, 86–88, 91, 108, 301n. 13
USA, influence in 89–90, 300n. 9
Szalla, Megan Wanlass 94
Thomas, Clare Lu 16
Taher, Jennifer 207, 219, 222, 224–225, 226
Tolan, Kathleen 21, 271, 294n. 12
Toulouse-Lautrec, Henri de 267
Trinity Repertory Company 43, 47
Turco-Lyon, Kathleen 174, 178, 309n. 16
Von Hove, Ivo 73
Via Theater 43, 46, 95, 313
Viewpoints 108, 110–117
and bobrauschenbergamerica 201–202, 226, 235–236
definition of individual Viewpoints 112–113
exercises, examples of 113–115
open Viewpoints 115–117
Suzuki, relationship to 124–125
Walker, Jewel 89
Waters, Les 262
Watt, Kenn 63
Webber, Stephen 90, 93, 102, 134, 137, 139, 203, 262, 266, 301n. 17
West, Darron 95, 96, 137, 140, 184, 206, 209, 214–215, 219, 222, 224–225, 227, 228, 230, 233, 235, 259, 313n. 5
Wexner Center for the Arts 94, 266
Whitworth, Julia 219, 220
Who's Afraid of Virginia Woolf? (Albee) 101, 142
Wilder, Matthew 63
Williams, Laurie 72–73, 179, 195, 298n. 11
Wilson, Robert 35, 51, 137, 139, 147, 297
Woodruff, Robert 47, 60, 61, 298n. 4, 306n. 18
Zeami, Motokiyo 130, 132
Zeisler, Peter 86, 90