NYCPlaywrights July 20, 2024
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NYCPlaywrights
Jul 20, 2024, 5:14:22 PM7/20/24
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
A MIDSUMMER NIGHT'S DREAM
the Venn diagram of lovers, fairies, and theater people overlaps at getting lost and being confused.
Friday, July 26 · 6 - 7pm EDT
SummerStage, Herbert Von King Park
670 Lafayette Avenue Brooklyn, NY 11216
An original musical adaptation of Midsummer Night's Dream!
so you're telling me Shakespeare wrote a play about a power-hungry city leader who restricted people's rights until the artists had to leave to find cheaper rehearsal space and the lovers had to flee to be their truest selves... is this play about us!??
This team of bed-stuy artists have collaborated to develop this entirely new work together, based on Shakespeare's "Midsummer". We are theater makers, musicians, writers, and visual artists interested in sharing Shakespeare's story through our own voices.
https://www.eventbrite.com/e/midsummer-nights-dream-tickets-945716592787?aff=ebdssbdestsearch
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Nomad Theatre seeks 2-4 new, unproduced one-acts to be a part of our upcoming show, By the Fireside in February 2025 in Normal, IL.
Nomad's mission is to provide an immersive theatre experience by exposing audience members to eclectic and moving stories, taking theatre outside of a traditional theatre space and into site-specific locations.
What happens inside a cozy cabin by the fire in February? Step inside the Davis Lodge on the shores of Lake Bloomington for one-act plays that take place in this warm and inviting cabin. Within the rustic walls of a secluded retreat, characters grapple with their pasts, secrets and unexpected encounters. The cabin transforms into a character itself, whispering stories of love, loss and redemption.
Selected plays must take place at in a cabin with a fireplace. We encourage you to use the space creatively. They must be unpublished and unproduced at the time of submission.
***
Eclectic Full Contact Theater Company announces the opening of submissions for the 4th annual Patchwork Play festival. We are currently accepting submissions of New One-Act Plays that embody this years theme of: Redemption. Nine finalists will have their play produced in our festival.
A $250 Award will be presented for best production as adjudicated by a panel of Chicago Theater professionals.
A $250 Audience Award will also be presented to the festival favorite as determined by our audiences.
***
On November 23rd 2024, PGE will host the 6th Annual Faces of America Monologue Festival at The Marjorie S. Deane Theater in NYC.
Your monologue must be less than two minutes in length.
We can't stress this enough. If we think your monologue is longer it will not be considered. Your monologue should represent America's incredible diversity. (BIPOC, AAPI, Latine, and LGBTQIA+ artists are all strongly encouraged to apply). Monologues can be historical or futuristic, cultural or political, comedic or tragic, spoken or signed!
Include the word "GRACE" somewhere in your monologue.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** ACTING: BRITISH VS AMERICAN ***
Look, I’m not here to bash the British. It’s actually quite the opposite. I stand in complete awe of how successful British actors are at winning and playing quintessentially American roles.
I mean, how the heck can a British actor nail the lead role of Jax Teller on Sons of Anarchy. How the heck can a British actor play the role of American revolutionary Fred Hampton in the movie Judas and the Black Messiah.
We’ve seen British actors play Spiderman and Superman and Batman, and they’ve played Ernest Hemingway and Martin Luther King and Abraham Lincoln. These are core American roles; it seems to me.
Which leads me to my question. Are British actors fundamentally better than American actors? Is there something special about the training they receive? Do they approach the craft differently than American actors do?
More...
https://actingmagazine.com/2021/11/are-british-actors-better-than-american-actors/
***
I suppose this might be considered unpatriotic on "Presidents' Day" but I can't resist sharing this shot across the bow from Charles McNulty at the LA Times. While filed under "Oscar Preview" it is actually a subversive assertion of not just the values of "British acting" vs American (as if there were just something in the water there) but an implicit defense of the continuing importance of stage acting (and stage training) as part of a good film actor's makeup.
Now this is an old argument and one subject to continuous ongoing debate. But one canard that I hope can be laid to rest is some simple swipe at British actors (or indeed all stage actors) being too "big" or hammy for film. McNulty takes as his cue the fact this year's Oscar nom's--like so many in recent years--have favored so many Brit-performances that were hardly over the top; Helen Mirren and Judy Dench being this year's self-effacing examples that he dwells on most.
More...
http://www.playgoer.org/2007/02/acting-brits-vs-americans-stage-vs-film.html
***
HELEN MIRREN
”I think of actors as those who have taken a certain imaginative leap. English and American actors do have a common cord, but there are big differences: American actors are much more outward, much less afraid of being emotional.
For example, at an audition, English actors won’t read. If they’re given a script they’ll hold it close up, mumble, read stage directions, pretend they can’t read. American actors thump on the table, throw themselves on the ground. English actors find that very embarrassing.
More...
https://goldenglobes.com/articles/helen-mirren-difference-between-english-and-american-actors/
***
(NYTimes 1964)
THE favorable impression created by British actors appearing on Broadway has caused many playgoers to speculate on the difference between British and American acting.
The majority of these actors represent the younger generation of British players, but they are now being joined by colleagues from the middle generation: Alec Guinness, Margaret Leighton, Paul Scofield. And when we think of all these in association with their seniors—like Laurence Olivier, John Gielgud, Ralph Richardson and Michael Redgrave—we are tempted to ask ourselves whether they are not, in fact, superior to American actors and, if so, what the reason for their superiority may be.
The readiest error such a comparison may lead to is viewing actors as products of different “schools,” or types of training. There is talk of the British as “technical” actors, while the Americans are increasingly influenced by something called “The Method.” In using these vague and not entirely helpful terms, we may be led into a fundamental misconception.
What distinguishes actors from various countries is not primarily their professional training but differences in their environment, their upbringing, their general conditioning and culture.
More...
https://www.nytimes.com/1964/01/12/archives/english-actors-they-play-classic-and-modern-roles-theres-a-method.html
***
(The Atlantic, 1926)
To contrast American with English plays is a comparatively easy task; to contrast American with English players is a much harder one. It is extraordinarily difficult to analyze acting. For one thing, it is an exceedingly technical business; for another, in the long run one always comes up against the elusiveness of a personality which escapes dissection. Most dramatic critics — even men of such ability as the late Jules Lemaître, for example — practically give up criticisms of acting as hopeless, and concentrate almost entirely on the play.
To contrast American with English acting is, then, somewhat of a hazardous venture, for there is so much in common between the two schools that it is difficult to recognize the differences. But one difference, to begin with, is surely to be found in the tyranny — or, if you prefer it, the domination — which the star exercises in America. Over and over again I have seen a tendency, in plays where American stars have a controlling interest, to subordinate everything, even such things as clothes, to the glorification of the principal character. This tendency is the more noticeable, for there can be no denying the powers and the fascination exercised by those glories of the American stage firmament. Every star has a personality, but an American star, carrying the intense individualism of his race to a white-heat radiance, has almost a blinding effect. Who, for example, can forget the scholarly precision of John Barrymore getting the exact shade of meaning out of every adjective in the Hamlet, soliloquies, or the keen intelligence with which Miss Doris Keane treats the sugary sentimentalities of Romance, or the way in which Miss Pauline Lord manipulates her hands, or the catch in the voice of Tom Douglas, or the exuberant kittenishness of Miss Peggy O’Neill, or the statuesque repose of Miss Lucille La Verne?
More...
https://www.theatlantic.com/magazine/archive/1926/03/the-american-theatre-in-england/648717/
***
Hugh Grant thinks British actors look “dead” in films, according to the Express. The 56-year-old Notting Hill actor, who was born in London, believes American actors are far better at acting.
Hugh Grant, who turned 56 last week, is originally from Britain, but it doesn’t mean he won’t tell the ugly truth about British actors. In his recent interview with the Express, the actor also talked about his fears starring alongside Meryl Streep in his latest film Florence Foster Jenkins.
Hugh Grant said that while the camera “loves spontaneity,” this is exactly what British actors lack onscreen, and they always look “slightly dead” on film. But at the same time, the actor praised American actors for being cut out for acting.
In fact, Hugh Grant explained that he has been looking closely at the film industry over the past 30 years, and he has come to the conclusion that the Americans are “right for film acting.” Grant’s concern regarding British actors is that he thinks they are unable to deliver spontaneous performances and look “slightly dead” onscreen.
More...
https://www.inquisitr.com/3515193/sports
***
British Actors Vs. American Actors | Key & Peele
https://www.youtube.com/shorts/gOvn7r-GYC0?app=desktop
*** FREE THEATER IN NYC ***
A MIDSUMMER NIGHT'S DREAM
the Venn diagram of lovers, fairies, and theater people overlaps at getting lost and being confused.
Friday, July 26 · 6 - 7pm EDT
SummerStage, Herbert Von King Park
670 Lafayette Avenue Brooklyn, NY 11216
An original musical adaptation of Midsummer Night's Dream!
so you're telling me Shakespeare wrote a play about a power-hungry city leader who restricted people's rights until the artists had to leave to find cheaper rehearsal space and the lovers had to flee to be their truest selves... is this play about us!??
This team of bed-stuy artists have collaborated to develop this entirely new work together, based on Shakespeare's "Midsummer". We are theater makers, musicians, writers, and visual artists interested in sharing Shakespeare's story through our own voices.
https://www.eventbrite.com/e/midsummer-nights-dream-tickets-945716592787?aff=ebdssbdestsearch
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Nomad Theatre seeks 2-4 new, unproduced one-acts to be a part of our upcoming show, By the Fireside in February 2025 in Normal, IL.
Nomad's mission is to provide an immersive theatre experience by exposing audience members to eclectic and moving stories, taking theatre outside of a traditional theatre space and into site-specific locations.
What happens inside a cozy cabin by the fire in February? Step inside the Davis Lodge on the shores of Lake Bloomington for one-act plays that take place in this warm and inviting cabin. Within the rustic walls of a secluded retreat, characters grapple with their pasts, secrets and unexpected encounters. The cabin transforms into a character itself, whispering stories of love, loss and redemption.
Selected plays must take place at in a cabin with a fireplace. We encourage you to use the space creatively. They must be unpublished and unproduced at the time of submission.
***
Eclectic Full Contact Theater Company announces the opening of submissions for the 4th annual Patchwork Play festival. We are currently accepting submissions of New One-Act Plays that embody this years theme of: Redemption. Nine finalists will have their play produced in our festival.
A $250 Award will be presented for best production as adjudicated by a panel of Chicago Theater professionals.
A $250 Audience Award will also be presented to the festival favorite as determined by our audiences.
***
On November 23rd 2024, PGE will host the 6th Annual Faces of America Monologue Festival at The Marjorie S. Deane Theater in NYC.
Your monologue must be less than two minutes in length.
We can't stress this enough. If we think your monologue is longer it will not be considered. Your monologue should represent America's incredible diversity. (BIPOC, AAPI, Latine, and LGBTQIA+ artists are all strongly encouraged to apply). Monologues can be historical or futuristic, cultural or political, comedic or tragic, spoken or signed!
Include the word "GRACE" somewhere in your monologue.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** ACTING: BRITISH VS AMERICAN ***
Look, I’m not here to bash the British. It’s actually quite the opposite. I stand in complete awe of how successful British actors are at winning and playing quintessentially American roles.
I mean, how the heck can a British actor nail the lead role of Jax Teller on Sons of Anarchy. How the heck can a British actor play the role of American revolutionary Fred Hampton in the movie Judas and the Black Messiah.
We’ve seen British actors play Spiderman and Superman and Batman, and they’ve played Ernest Hemingway and Martin Luther King and Abraham Lincoln. These are core American roles; it seems to me.
Which leads me to my question. Are British actors fundamentally better than American actors? Is there something special about the training they receive? Do they approach the craft differently than American actors do?
More...
https://actingmagazine.com/2021/11/are-british-actors-better-than-american-actors/
***
I suppose this might be considered unpatriotic on "Presidents' Day" but I can't resist sharing this shot across the bow from Charles McNulty at the LA Times. While filed under "Oscar Preview" it is actually a subversive assertion of not just the values of "British acting" vs American (as if there were just something in the water there) but an implicit defense of the continuing importance of stage acting (and stage training) as part of a good film actor's makeup.
Now this is an old argument and one subject to continuous ongoing debate. But one canard that I hope can be laid to rest is some simple swipe at British actors (or indeed all stage actors) being too "big" or hammy for film. McNulty takes as his cue the fact this year's Oscar nom's--like so many in recent years--have favored so many Brit-performances that were hardly over the top; Helen Mirren and Judy Dench being this year's self-effacing examples that he dwells on most.
More...
http://www.playgoer.org/2007/02/acting-brits-vs-americans-stage-vs-film.html
***
HELEN MIRREN
”I think of actors as those who have taken a certain imaginative leap. English and American actors do have a common cord, but there are big differences: American actors are much more outward, much less afraid of being emotional.
For example, at an audition, English actors won’t read. If they’re given a script they’ll hold it close up, mumble, read stage directions, pretend they can’t read. American actors thump on the table, throw themselves on the ground. English actors find that very embarrassing.
More...
https://goldenglobes.com/articles/helen-mirren-difference-between-english-and-american-actors/
***
(NYTimes 1964)
THE favorable impression created by British actors appearing on Broadway has caused many playgoers to speculate on the difference between British and American acting.
The majority of these actors represent the younger generation of British players, but they are now being joined by colleagues from the middle generation: Alec Guinness, Margaret Leighton, Paul Scofield. And when we think of all these in association with their seniors—like Laurence Olivier, John Gielgud, Ralph Richardson and Michael Redgrave—we are tempted to ask ourselves whether they are not, in fact, superior to American actors and, if so, what the reason for their superiority may be.
The readiest error such a comparison may lead to is viewing actors as products of different “schools,” or types of training. There is talk of the British as “technical” actors, while the Americans are increasingly influenced by something called “The Method.” In using these vague and not entirely helpful terms, we may be led into a fundamental misconception.
What distinguishes actors from various countries is not primarily their professional training but differences in their environment, their upbringing, their general conditioning and culture.
More...
https://www.nytimes.com/1964/01/12/archives/english-actors-they-play-classic-and-modern-roles-theres-a-method.html
***
(The Atlantic, 1926)
To contrast American with English plays is a comparatively easy task; to contrast American with English players is a much harder one. It is extraordinarily difficult to analyze acting. For one thing, it is an exceedingly technical business; for another, in the long run one always comes up against the elusiveness of a personality which escapes dissection. Most dramatic critics — even men of such ability as the late Jules Lemaître, for example — practically give up criticisms of acting as hopeless, and concentrate almost entirely on the play.
To contrast American with English acting is, then, somewhat of a hazardous venture, for there is so much in common between the two schools that it is difficult to recognize the differences. But one difference, to begin with, is surely to be found in the tyranny — or, if you prefer it, the domination — which the star exercises in America. Over and over again I have seen a tendency, in plays where American stars have a controlling interest, to subordinate everything, even such things as clothes, to the glorification of the principal character. This tendency is the more noticeable, for there can be no denying the powers and the fascination exercised by those glories of the American stage firmament. Every star has a personality, but an American star, carrying the intense individualism of his race to a white-heat radiance, has almost a blinding effect. Who, for example, can forget the scholarly precision of John Barrymore getting the exact shade of meaning out of every adjective in the Hamlet, soliloquies, or the keen intelligence with which Miss Doris Keane treats the sugary sentimentalities of Romance, or the way in which Miss Pauline Lord manipulates her hands, or the catch in the voice of Tom Douglas, or the exuberant kittenishness of Miss Peggy O’Neill, or the statuesque repose of Miss Lucille La Verne?
More...
https://www.theatlantic.com/magazine/archive/1926/03/the-american-theatre-in-england/648717/
***
Hugh Grant thinks British actors look “dead” in films, according to the Express. The 56-year-old Notting Hill actor, who was born in London, believes American actors are far better at acting.
Hugh Grant, who turned 56 last week, is originally from Britain, but it doesn’t mean he won’t tell the ugly truth about British actors. In his recent interview with the Express, the actor also talked about his fears starring alongside Meryl Streep in his latest film Florence Foster Jenkins.
Hugh Grant said that while the camera “loves spontaneity,” this is exactly what British actors lack onscreen, and they always look “slightly dead” on film. But at the same time, the actor praised American actors for being cut out for acting.
In fact, Hugh Grant explained that he has been looking closely at the film industry over the past 30 years, and he has come to the conclusion that the Americans are “right for film acting.” Grant’s concern regarding British actors is that he thinks they are unable to deliver spontaneous performances and look “slightly dead” onscreen.
More...
https://www.inquisitr.com/3515193/sports
***
British Actors Vs. American Actors | Key & Peele
https://www.youtube.com/shorts/gOvn7r-GYC0?app=desktop
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