United States of Arts: Illinois
In collaboration with the Illinois Arts Council Agency, the National Endowment for the Arts looks at the arts and culture of Illinois.
Developed as part of the National Endowment for the Arts 50th Anniversary United States of Arts: Tell Us Your Art Story series.
For more on the National Endowment for the Arts 50th anniversary, go to
Champaign, Illinois
Champaign is a city in Champaign County, Illinois, United States. The city is located 135 miles south of Chicago, 124 miles west of Indianapolis, Indiana, and 178 mi northeast of St. Louis, Missouri. Champaign is notable for sharing the campus of the University of Illinois at Urbana-Champaign with its sister city of Urbana. Champaign is also the home of Parkland College which serves about 18,000 students during the academic year. Due to the university and a number of well known technology startup companies, it is often referred to as the hub, or a significant landmark, of the Silicon Prairie. Champaign houses offices for Abbott, Archer Daniels Midland, Caterpillar, Deere & Company, Dow Chemical Company, IBM, State Farm, and Science Applications International Corporation, all of which are Fortune 500 companies, and for Sony.
The United States Census Bureau estimates the city was home to 84,513 people as of July 1, 2014. Champaign is the tenth-most populous city in Illinois, and the fourth-most populous city in the state outside of the Chicago metropolitan area. In 2013, Champaign was rated fifth best place in the United States for a healthy work-life balance.
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REO Speedwagon That Aint Love Virginia Theatre Champaign IL 11/9/2015 HD
Illinois Icons: Max Abramovitz
University of Illinois alumnus Max Abramovitz created spaces for the campus to come together. His firm, Harrison and Abramovitz, created the United Nations complex as well as the Philharmonic Hall at Lincoln Center for the Performing Arts, both in New York City. His experience with Lincoln Center inspired his work on Krannert Center for Performing Arts at Illinois. The university also tapped Abramovitz to create a larger, multipurpose entertainment venue. His design of a 400-foot diameter, unsupported dome for what is now known as the State Farm Center was a groundbreaking achievement. The program was produced by Tim Hartin, Kaitlin Southworth and Alison Davis Wood for the University of Illinois Department of Athletics and Office of Public Affairs.
MVI_0611.AVI
Bread and Puppet Theater at Grinnell College, September 2011
Northwestern University Brown Sugar at Gathe Raho 2010 (Part 2) (1st Place)
Northwestern University Brown Sugar performing at the United States's premier South Asian A Cappella competition, Gathe Raho.
Gathe Raho 2010 was hosted by the University of Iowa Indian Student Alliance. The event was held at the historic Englert Theatre in downtown Iowa City and featured 7 of the nation's top a cappella teams.
Video is courtesy of University of Iowa Student Video Productions.
City of Champaign, IL's 150th Anniversary Celebration: Letters to the Future Project
Letters to the Future is an audio slide show created with the help of people all over Champaign, IL to celebrate Champaign's 150th Anniversary. Come join the fun as you listen to 10 pioneers talk about the past and speak to the future residents of Champaign and what they look forward to.
REO Speedwagon's Bruce Hall Champaign, IL 11/09/2015
Back On The Road Again
Vietnam / 1972 linocut print by artist A.K. Segan, done in Champaign, Illinois ©
New website of artist Akiva K. Segan, Feb. 2019:
holocaust-humanrights-art.org
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American artist & tolerance educator Akiva Kenny Segan shows a Dec. 1972 linocut print made during his first term as a freshman at Parkland Jr. College, Champaign, Illinois.
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The lino was inspired by a news photo of a Vietnamese woman who had a gun to her head; I think she was about to be shot, executed.
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A 7 min. video of a 2004 drawing by Segan, The Birth & Death of the World, portraying a Vietnamese infant who died of hydro-encephalitis at two months of age from Agent Orange dioxins in the waters of Vietnam:
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A 6 min., 19 sec. video of a multi-image proof of the Vietnam lino, titled Vietnam Special # 1, printed early 1973; video'd Nov. 2014. The mat includes a paper armband worn by the artist during a memorial walk the day after Rev. Dr. Martin Luther King Jr was assassinated in spring 1968. The artwork is now in the collection of the museum, Southern Illinois Univ., Carbondale:
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Segan did the linocut print during his first few weeks as a freshman art student at Parkland Jr. College, Champaign, Illinois. (Later called Parkland Comm. College, now called Parkland College). Segan completed his freshman year of art studies there and transferred to Southern Illinois University, Carbondale, fall '74.
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A 3 min., 44 sec. video of a single proof of the Vietnam linocut, owned by the artist’s mother; that proof would have been printed late 1972:
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A 4 min., 6 sec. video of a Vietnamese American student talking about Segan’s drawing of a Vietnamese infant who died of hydro-encephalitis, Seattle Central Community College, April 2013:
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A 7 min., 1 sec. video of Segan talking about the same drawing (see above), titled The Birth and Death of the World. The drawing was the 2nd work of Segan’s Sight-seeing with Dignity (human rights) themed and focused art series:
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Segan is best known as the artistic creator of the Under the Wings (Holocaust) art series; other Holocaust themed art; and the Sight-seeing with Dignity (human rights) art series.
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In addition to guest teaching worldwide with power-point classes on art about the Holocaust and about post-WWII victims of human rights atrocities, Segan facilitates his Drawing for Healing workshops with classes of all ages, e.g. 5-7 years of age; elderly audiences in their 80's-90's and above; and all ages in-between.
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Segan's artworks are in gallery/museum, university, library, corporate and institutional collections in Austria, Canada, France, Hungary, Israel, Scotland and the United States.
~
Art, video © A.K. Segan
United Mime Workers (1971-1986) Unit One, UIUC, Shadows Beyond the Benefit of a Doubt1986
UNITED MIME WORKERS (1971-1986) at the University of Illinois Urbana-Champaign, Unit One, 1986, performing Shadows Beyond the Benefit of a Doubt: Matters of Fact or Friction created collectively by the company.
The UNITED MIME WORKERS experimental theatre collective created and toured in the US, Eastern and Western Europe, Mexico and Cuba during the years 1971-1986 while based in Champaign-Urbana, Illinois, USA. Artists: Bob Feldman, Debby Langerman, Jeff Glassman, Candace Walworth, Bob Rebitzer, Bruce Garret, Linda Holmes Higley, Greg Chew.
See: Mark Weinberg, Challenging the Hierarchy: Collective Theatre in the United States, Greenwood Press, 1992
See: Thomas Leabhart, Modern and Post-Modern Mime, (Modern Dramatists) 1989
See: Annette Lust, From the Greek Mimes to Marcel Marceau and Beyond, 2002
See: Thomas Leabhart, Mime Journal: New Mime in North America, 1982
This work uses several inventions by the United Mime Workers, including the 'pivot' move used in scenes constructed through 'pivot-montage' and several ways of dislocating speech from action, vocal character from visible character, and aligning movement qualities between characters while keeping the characters' behavior 'natural'. You can see too (although the poor quality of the aging recording might get in the way) that electronic devices and sound sources keep mixing in, mixing up and crossing wires with the reality these people are trying to live, especially when it comes to trying to deal with and to change the pronouns.
The source tape is old and the resulting quality of this recording is poor, but still it's possible to get an idea of what was performed. Please enjoy. Let us know what you find. What you might have the most difficulty discerning is when the voice comes from the TV set on stage, and when it comes from an actor. Refinements were made in all respects over the several years of performing this piece. This is one of the last performances and it took place at the University of Illinois at Urbana-Champaign, in the Unit One program at Allen Hall.
UMW, Mime Is No Object, 1980, Rochester NY
UNITED MIME WORKERS experimental theatre company, 1971-1986: Bob Feldman, Debby Langerman, Jeff Glassman, Candace Walworth, Bob Rebitzer, Bruce Garret, Linda Holmes Higley, Greg Chew.
This performance took place at the invitation of Bob Berky at his place at that time in Rochester, New York, which I believe was called the Mime Place.
Published on Feb 21, 2014
UNITED MIME WORKERS (1971-1986) performing Mime is No Object: the Reproduction of the Working Day created collectively by the company.
The UNITED MIME WORKERS experimental theatre collective created and toured in the US, Eastern and Western Europe, Mexico and Cuba during the years 1971-1986 while based in Champaign-Urbana, Illinois, USA. Artists: Bob Feldman, Debby Langerman, Jeff Glassman, Candace Walworth, Bob Rebitzer, Bruce Garret, Linda Holmes Higley, Greg Chew.
See: Mark Weinberg, Challenging the Hierarchy: Collective Theatre in the United States, Greenwood Press, 1992
See: Thomas Leabhart, Modern and Post-Modern Mime, (Modern Dramatists) 1989
See: Annette Lust, From the Greek Mimes to Marcel Marceau and Beyond, 2002
See: Thomas Leabhart, Mime Journal: New Mime in North America, 1982
Program Note:
In the lobby of the theatre during engagements, the movement score for MINO is always on display. The score is 25 feet long, with the recombinant object pathways encoded in color-coded pathways on 3 rolls of clear plastic, one per actor. The object pathways implied the necessary actions of the character-actors. This device enabled us to discern the exact timing of cues in order for precise intersections of performance tasks to occur without altering the fixed repeatable invariants of the original tasks, adhered to by the two main characters no matter what misappropriation of objects might result due to quirks in the timing. The super-structural character's job is to keep the piece performable by adjusting the object placements from time to time -- an increasingly irrational activity. This score and the piece end when novel activity results in structural change.
1974 art by A.K. Segan: spaghetti self-portrait + Rabbi Hillel linocut prints, Champaign Illinois ©
New website of artist Akiva K. Segan, August 2019:
humanrights-holocaust-art.org
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Artist & tolerance educator Akiva K. Segan shows a double-printed proof: A linoleum print self portrait of 1973 with a 1974 lino print, Rabbi Hillel: Thou Shalt Love Thy Neighbor as Thyself.
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The self-portrait was made when Segan was a freshman year art student at Parkland Jr (Community) College, Champaign, Illinois.The print was called and sometimes titled The Spaghetti Self Portrait.
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The Rabbi Hillel lino was done during Segan's first semester at Southern Illinois University, Carbondale, fall '74.
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Each lino block is 12 inches H x 9 W.
~
Segan is best known as the artistic creator of the
Under the Wings (Holocaust) art series; other Holocaust themed art; and the Sight-seeing with Dignity (human rights) art series.
~
In addition to guest teaching worldwide with power-point classes on art about the Holocaust and about post-WWII victims of human rights atrocities, Segan facilitates his Drawing for Healing workshops with classes of all ages, e.g. 5-7 years of age; elderly audiences in their 80's-90's and above; and all ages in-between.
~
Segan's artworks are in gallery/museum, university, library, corporate and institutional collections in Austria, Canada, France, Hungary, Israel, Scotland and the United States.
~
Art, video © A.K. Segan
Sijo Music Concert - Korean Art Songs - Ghibong Kim, bariton, Sojung Lee, piano
Oct 21, 2017
Ghibong Kim, baritone
Sojung Lee, piano
Spring Maiden (봄처녀) ..........................Hong Nan-pa
based on sijo by Yi Un-sang
The Swing (그네) ...............................Gum Su-hyun
based on sijo by Kim Mal-bong
MUSIC INSPIRED BY KOREAN POETRY
Sijo poems in settings from classical to Hip-hop
Performed on October 21, 2017 at The Poetry Foundation, Chicago
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SPRING MAIDEN
SIJO BY YI UN-SANG • MUSIC BY HONG NAN-PA
Here comes at last our Spring Maid
dressed in shoots of grass,
veiled in a fleecy cloud,
shod with pearls of dew.
Who will she be meeting,
a bouquet pinned on her breast?
translated by Jaihiun Kim
봄 처녀 (이은상 시, 홍난파 곡)
봄 처녀 제 오시네. 새 풀옷을 입으셨네
하얀 구름 너울 쓰고 진주이슬 신으셨네
꽃다발 가슴에 안고 뉘를 찾아 오시는고
----------------------------------------------
THE SWING
SIJO BY KIM MAL-BONG • MUSIC BY GUM SU-HYON
Jade-colored fine ramie-cloth skirt and gilt pigtail ribbons
are leaping into the blue sky and fluttering in the clouds.
A startled swallow stares at them, forgetting to beat its wings.
translated by Jang Gyong-ryol
그네 (김말봉 시, 금수현 곡)
세모시 옥색치마 금박 물린 저 댕기가
창공을 차고 나가 구름 속에 나부낀다
제비도 놀란 양 나래 쉬고 보더라
--------------------------------------------------------
Baritone GHIBONG KIM, born in Daegu, Korea, received his Bachelor’s degree in Voice Performance at Seoul National University. He continued his voice studies at the Arrigo Boito Conservatory in Parma, Italy, which Renata Tebaldi and Claudio Abbado had attended, and graduated with the highest academic honor. He was a winner of the international competition Rocca delle Macie in Siena, where Renato Bruson served as a judge. He was also a finalist at the Tito Schipa Voice Competition in Lecce and the Flaviano Lavo’ Competition in Piacenza. His major teachers were Sherrill Milnes and Inci Bashar.
Mr. Kim’s first professional appearance in Italy was as Cola in Paer’s Camilla at Teatro Regio di Parma. Following this success, he was consequently engaged to sing as Belcore in L’elisir d’amore, Marcello in La bohème, and Rigoletto in Rigoletto. Other roles include Renato (Un ballo in maschera), and Valentine (Faust). Since moving to the United States, Mr. Kim has been an active performer not only in operas, but also as an oratorio soloist. Mendelssohn’s Oratorio “Elijah” is his signature role. Mr. Kim made his Chicago debut as Conte in Le nozze di Figaro at the Chicago Chamber Opera with the Northbrook Symphony Orchestra. Other roles include Germont in La traviata with the Elgin Opera and Morales in Carmen at the DuPage Opera Theater. In 2011, he performed Brahms’s Ein deutsches Requiem with the Elgin Choral Union and Elgin Symphony Orchestra, which was broadcast on WFMT Chicago Radio.
Mr. Kim has given solo and chamber concerts in Europe, Canada, Mexico, Guatemala, Argentina, Paraguay, and South Korea. He taught voice as faculty at Judson University in Elgin, IL, and currently serves as the music director at the Alliance Fellowship Church in Hoffman Estates.
Dr. SOJUNG LEE HONG, Associate Professor of Music at Judson University, has worked as a soloist, collaborative pianist, teacher, and church musician in the Chicago area since her appointment to the music faculty of Judson University. She has also performed and taught internationally, frequently touring with ensembles for charity and missions concerts. For the past ten years she has organized the annual scholarship benefit concerts to support talented Korean students who come to the United States to further their music studies. She holds BM and MM degrees from Seoul National University in South Korea and a doctoral degree in piano performance and literature from the University of Illinois at Urbana-Champaign. Recently, she was awarded the Margaret Hillis Award for the Arts by the Elgin YWCA, for her distinctive contribution to the Arts.
Illinois Icons
In celebration of the University of Illinois at Urbana-Champaign’s sesquicentennial, the BigTen Network and the University of Illinois tell the stories of three men who left enduring marks on the campus. Max Abramovitz created spaces for the campus to come together. Robert Zuppke changed football and expressed himself through art and Lorado Taft gave Illinois its most beloved symbol, the Alma Mater. The program was produced by Tim Hartin, Kaitlin Southworth and Alison Davis Wood for the University of Illinois Department of Athletics and Office of Public Affairs.
CARRIED AWAY: Wild Space Dance & Duo d'Entre-Deux @ ROULETTE, NYC [excerpt 1]
Excerpts from the March 27th performance at Roulette, NYC
In this clip: Deb Loewen; artistic director Dan Schuchart, Monica Rodero, Yeng Vang-Strath, Quinn Dixon, dance Nick Zoulek, Tommy Davis, saxophones
wildspacedance.org
duodentredeux.com
soundcloud.com/duodentredeux
Carried Away explores shifting relationships between moving bodies, live music, projected images, Roulette’s unusual performance space and the audience. Known for site-based work, Debra Loewen incorporates architectural structures at hand, providing a shifting perspective of experience. Utilizing both improvisational scores and set material, dancers and musicians navigate the space in an intricate exchange of ideas. Their interactions will be framed with intimate proximity or glimpsed from a distant perspective. Moving and still vignettes occur simultaneously connecting threads of a shared language with music, dance and the built environment, while the audience relocates to new viewing areas. Film loops hint of landscapes- a slow shifting of graphite shards; birds gather and disappear; a large white cat named Douglas watches everyone.
The space prompts visible and invisible plots for unanticipated directions, thwarted plans and interruptions. Random moments surprise and disappear. Events come and go, snippets of both familiar and vaguely understood movements pass, hurtle onward, collide. We look around, engage and get carried away with questions about what might happen.
An innovator and leader in the Milwaukee arts community, Debra Loewen is known for her site-specific work and collaborations with visual artists, filmmakers, musicians and theatrical groups. Early in her career, Loewen performed improvised concerts with Roulette founder Jim Staley both on tour in the Midwest, and at the Roulette loft in the 1980s. As an independent artist, she studied with modern dance pioneer Robert Ellis Dunn and explored technology and site-based performances in her early work, performing in Philadelphia, Chicago, San Diego, Toronto, Peru and Colombia. In 1986, the Wisconsin native returned to Milwaukee and founded Wild Space Dance Company, which has performed throughout Wisconsin and toured to Minneapolis, Chicago, New York, Japan and Korea. A striking perspective on movement in space, Wild Space’s critically acclaimed site-based events have transformed Milwaukee landmarks, such empty swimming pools, parking garages, newly created urban parks, pedestrian bridges, historic buildings, and the Milwaukee Art Museum’s Calatrava-designed Windhover Hall, into “…imagination-stirring, site-specific modern dance performances…” (Milwaukee Journal Sentinel). Over the past three decades, Loewen has earned multiple choreographic fellowships from Milwaukee County, the Wisconsin Arts Board and the National Endowment for the Arts. She holds a BFA in dance from the University of Illinois at Urbana-Champaign and an MFA in dance from UW-Milwaukee.
Comprised of saxophonists Nick Zoulek (USA) and Tommy Davis (Canada), Duo d’Entre Deux has performed across the United States, Canada, United Kingdom, and France. Duo d’Entre Deux investigates complex, spectral, cross-over, and programmatic compositions, as well as collaborations with visual and improvisational artists. Their work has fostered outstanding relationships with celebrated composers including Christian Lauba and Mikel Kuehn, and has led to commissions and premieres of works by Robert Lemay and Etienne Rolin. This is Zoulek’s second performance with Wild Space, following their 2012 site-specific collaboration in a parking garage at the former Pabst Brewery.
Our ongoing [DANCEROULETTE] series reflects the commitment to presenting experimental dance that we’ve held since our founding in 1978, particularly the collaborative efforts of composers and choreographers exploring the relationship between sound and movement, choreography and composition. Roulette’s move to Brooklyn in September 2011 has enabled us to initiate a regular season of [DANCEROULETTE] presentations, which now hosts nearly 40 performances yearly.
[DANCEROULETTE] is supported, in part, by the Mertz Gilmore Foundation.
REO Speedwagon in Champaign: Bruce Hall Back On The Road Again (Bruce Hall/One-Eyed Jacks)
REO Speedwagon live at Virginia Theatre Champaign in 2015, featuring Bassist Bruce Hall's original Back On The Road Again (Bruce Hall/One-Eyed Jacks) with an introduction by Kevin Cronin giving the history of the band in Champaign, with mention of Red LIon. 11/09/15. Virginia Theatre (venue). Champaign-Urbana, IL; champaignunderground video
CARRIED AWAY: Wild Space Dance & Duo d'Entre-Deux @ ROULETTE, NYC [excerpt 3]
Excerpts from the March 27th performance at Roulette, NYC
In this clip: Deb Loewen; artistic director Dan Schuchart, Monica Rodero, Yeng Vang-Strath, Quinn Dixon, dance Nick Zoulek, Tommy Davis, saxophones
wildspacedance.org
duodentredeux.com
soundcloud.com/duodentredeux
Carried Away explores shifting relationships between moving bodies, live music, projected images, Roulette’s unusual performance space and the audience. Known for site-based work, Debra Loewen incorporates architectural structures at hand, providing a shifting perspective of experience. Utilizing both improvisational scores and set material, dancers and musicians navigate the space in an intricate exchange of ideas. Their interactions will be framed with intimate proximity or glimpsed from a distant perspective. Moving and still vignettes occur simultaneously connecting threads of a shared language with music, dance and the built environment, while the audience relocates to new viewing areas. Film loops hint of landscapes- a slow shifting of graphite shards; birds gather and disappear; a large white cat named Douglas watches everyone.
The space prompts visible and invisible plots for unanticipated directions, thwarted plans and interruptions. Random moments surprise and disappear. Events come and go, snippets of both familiar and vaguely understood movements pass, hurtle onward, collide. We look around, engage and get carried away with questions about what might happen.
An innovator and leader in the Milwaukee arts community, Debra Loewen is known for her site-specific work and collaborations with visual artists, filmmakers, musicians and theatrical groups. Early in her career, Loewen performed improvised concerts with Roulette founder Jim Staley both on tour in the Midwest, and at the Roulette loft in the 1980s. As an independent artist, she studied with modern dance pioneer Robert Ellis Dunn and explored technology and site-based performances in her early work, performing in Philadelphia, Chicago, San Diego, Toronto, Peru and Colombia. In 1986, the Wisconsin native returned to Milwaukee and founded Wild Space Dance Company, which has performed throughout Wisconsin and toured to Minneapolis, Chicago, New York, Japan and Korea. A striking perspective on movement in space, Wild Space’s critically acclaimed site-based events have transformed Milwaukee landmarks, such empty swimming pools, parking garages, newly created urban parks, pedestrian bridges, historic buildings, and the Milwaukee Art Museum’s Calatrava-designed Windhover Hall, into “…imagination-stirring, site-specific modern dance performances…” (Milwaukee Journal Sentinel). Over the past three decades, Loewen has earned multiple choreographic fellowships from Milwaukee County, the Wisconsin Arts Board and the National Endowment for the Arts. She holds a BFA in dance from the University of Illinois at Urbana-Champaign and an MFA in dance from UW-Milwaukee.
Comprised of saxophonists Nick Zoulek (USA) and Tommy Davis (Canada), Duo d’Entre Deux has performed across the United States, Canada, United Kingdom, and France. Duo d’Entre Deux investigates complex, spectral, cross-over, and programmatic compositions, as well as collaborations with visual and improvisational artists. Their work has fostered outstanding relationships with celebrated composers including Christian Lauba and Mikel Kuehn, and has led to commissions and premieres of works by Robert Lemay and Etienne Rolin. This is Zoulek’s second performance with Wild Space, following their 2012 site-specific collaboration in a parking garage at the former Pabst Brewery.
Our ongoing [DANCEROULETTE] series reflects the commitment to presenting experimental dance that we’ve held since our founding in 1978, particularly the collaborative efforts of composers and choreographers exploring the relationship between sound and movement, choreography and composition. Roulette’s move to Brooklyn in September 2011 has enabled us to initiate a regular season of [DANCEROULETTE] presentations, which now hosts nearly 40 performances yearly.
[DANCEROULETTE] is supported, in part, by the Mertz Gilmore Foundation.
UNITED MIME WORKERS (1971-1986) at DTW in NYC, 1980 perform Mime is No Object
UNITED MIME WORKERS (1971-1986) at Dance Theatre Workshop, New York, NY: in the DTW series New Mime, 1980, performing Mime is No Object: the Reproduction of the Working Day created collectively by the company.
The UNITED MIME WORKERS experimental theatre collective created and toured in the US, Eastern and Western Europe, Mexico and Cuba during the years 1971-1986 while based in Champaign-Urbana, Illinois, USA. Artists: Bob Feldman, Debby Langerman, Jeff Glassman, Candace Walworth, Bob Rebitzer, Bruce Garret, Linda Holmes Higley, Greg Chew.
See: Mark Weinberg, Challenging the Hierarchy: Collective Theatre in the United States, Greenwood Press, 1992
See: Thomas Leabhart, Modern and Post-Modern Mime, (Modern Dramatists) 1989
See: Annette Lust, From the Greek Mimes to Marcel Marceau and Beyond, 2002
See: Thomas Leabhart, Mime Journal: New Mime in North America, 1982
Program Note:
In the lobby of the theatre during engagements, the movement score for MINO is always on display. The score is 25 feet long, with the recombinant object pathways encoded in color-coded pathways on 3 rolls of clear plastic, one per actor. The object pathways implied the necessary actions of the character-actors. This device enabled us to discern the exact timing of cues in order for precise intersections of performance tasks to occur without altering the fixed repeatable invariants of the original tasks, adhered to by the two main characters no matter what misappropriation of objects might result due to quirks in the timing. The super-structural character's job is to keep the piece performable by adjusting the object placements from time to time -- an increasingly irrational activity. This score and the piece end when novel activity results in structural change.
Savannah 2012-2013 --- Compétition nationale américaine (Urbana-Champaign, Illinois)
UNITED MIME WORKERS (1971-1986) at DTW, NYC 1982 Shadows Beyond the Benefit of a Doubt
UNITED MIME WORKERS (1971-1986) at Dance Theatre Workshop, New York, NY: in the DTW series Manifesto! Investigations in Political Performance, 1982, performing Shadows Beyond the Benefit of a Doubt: Matters of Fact or Friction created collectively by the company.
The UNITED MIME WORKERS experimental theatre collective created and toured in the US, Eastern and Western Europe, Mexico and Cuba during the years 1971-1986 while based in Champaign-Urbana, Illinois, USA. Artists: Bob Feldman, Debby Langerman, Jeff Glassman, Candace Walworth, Bob Rebitzer, Bruce Garret, Linda Holmes Higley, Greg Chew.
See: Mark Weinberg, Challenging the Hierarchy: Collective Theatre in the United States, Greenwood Press, 1992
See: Thomas Leabhart, Modern and Post-Modern Mime, (Modern Dramatists) 1989
See: Annette Lust, From the Greek Mimes to Marcel Marceau and Beyond, 2002
See: Thomas Leabhart, Mime Journal: New Mime in North America, 1982
This work uses several inventions by the United Mime Workers, including the 'pivot' move used in scenes constructed through 'pivot-montage' and several ways of dislocating speech from action, vocal character from visible character, and aligning movement qualities between characters while keeping the characters' behavior 'natural'. You can see too (although the poor quality of the aging recording might get in the way) that electronic devices and sound sources keep mixing in, mixing up and crossing wires with the reality these people are trying to live, especially when it comes to trying to deal with and to change the pronouns.