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          string(2751) "<span style="font-weight: 400;">On November 16, Marilyn F. Vitale Artistic Director Charles Newell and Professor David Levin held a digital talkback about the cast’s previous reading of the play. Here are 5 takeaways from their conversation.</span>

<strong>1. The vibrancy of cast performances draw you in.</strong>

<span style="font-weight: 400;">Getting to see this family full of vibrant, lively individuals interact with one another and getting to know their individual personalities, hearing their names reduced to a list of murdered relatives at the end makes their loss resonate even more deeply with audiences as the play sucks them in further over the course of the performance.</span>

<strong>2. Humanity, emotion, and intellect</strong>

<span style="font-weight: 400;">Stoppard’s play has all three, making it an exemplary play to engage with due to Court’s thoughtful approach and its connection with the University.</span>

<strong>3. Variety of POVs</strong>

<span style="font-weight: 400;">The POVs of different characters mesh and clash with one another to create more intriguing relationships and interpretations of them. With the time jumps and large cast, more interpretation is needed to decipher certain events and relationship developments that happen off-script, like the process of reconciliation between Hermann and Gretl after her adultery is revealed.</span>

<strong>4. Who am I?</strong>

<span style="font-weight: 400;">Questions such as the one above, “how did I become who I am now?”, and “where do I belong in this world?” are pertinent to the play when considering the characters’ existences within the cat’s cradle and in response to the developing situation in the world.</span>

<strong>5. UT Austin and Court Theatre</strong>

<span style="font-weight: 400;">The library at UT Austin wants to document how theatres are making theatre in the pandemic, so this institution, home to Stoppard’s archive (including boxes of handwritten notes, script drafts, and more), requested access to Court’s recorded performances of Stoppard’s works.</span>

<span style="font-weight: 400;">And with that, we conclude our Deep Dive series! If you missed out on any sessions, recordings are still available via the links and passwords previously sent out to audiences who registered for the event. Tune in to our next component of our Theatre &amp; Thought series, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><span style="font-weight: 400;">Caryl Churchill’s </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;"> + The Dramaturgical Process</span></a><span style="font-weight: 400;">.</span>"
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          string(9521) "<img class="alignnone wp-image-15109 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/11/Fen_800x300.jpg" alt="" width="800" height="300" />

<span style="font-weight: 400;">Employing astonishing theatrical imagery, Caryl Churchill’s </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;"> interrogates issues of gender, class, and exploitation with grace, humor, and anger. Dramaturg and University of Chicago lecturer Derek Matson (</span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">, </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><i><span style="font-weight: 400;">The Mousetrap</span></i></a><span style="font-weight: 400;">) digs into the multitudinous themes and histories that make Churchill’s play tick, offering insight into how this type of research informs the creative process and how dramaturgy is conducted in the theatre. Jeff Award-winning director Vanessa Stalling (</span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">) will join Matson in these conversations to discuss how dramaturgy fuels her own work as an artist.</span><span style="font-weight: 400;"> </span>

<hr />

<img class="wp-image-15111 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/dramaturgy_400x225.jpg" alt="" width="400" height="225" />
<h3>What is Dramaturgy and Where to Start with <em>Fen</em>?</h3>
<h4>November 30, 2020 | Featuring Derek Matson and Dr. Siân Adiseshiah</h4>
Ever wonder what a dramaturg does? In this session, Derek explains the role of the dramaturg in the theatrical production process, and he launches his journey into the play world of Fen by speaking with Churchill scholar Siân Adiseshiah about what makes Caryl Churchill one of our greatest living playwrights.

<hr />

<img class="wp-image-15112 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/fenwomen_400x225.jpg" alt="" width="400" height="225" />
<h3><em>Fenwomen</em> and Village Life in the Fens</h3>
<h4>December 2, 2020 | Derek Matson and Professor Mary Chamberlain</h4>
In this session, Derek talks with Professor Mary Chamberlain, author of <i>Fenwomen: A Portrait of Women in an English Village</i>, the pioneering work of women’s oral history that served as an inspiration for Caryl Churchill’s <i>Fen</i>.

<hr />

<img class="wp-image-15110 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/fen_400x225.jpg" alt="" width="400" height="225" />
<h3>Digital Reading: Caryl Churchill's<em> Fen</em></h3>
<h4>December 7, 2020
Directed by Vanessa Stalling</h4>
The online reading of <em>Fen</em> will be brought to life by Jeff Award-winning director Vanessa Stalling and actors <a href="https://www.courttheatre.org/people/isa-arciniegas/">Isa Arciniegas</a>, <a href="https://www.courttheatre.org/people/diana-coates/">Diana Coates</a>, <a href="https://www.courttheatre.org/people/elana-elyce/">Elana Elyce</a>, <a href="https://www.courttheatre.org/people/emjoy-gavino/">Emjoy Gavino</a>, <a href="https://www.courttheatre.org/people/cruz-gonzalez-cadel/">Cruz Gonzalez-Cadel</a>, <a href="https://www.courttheatre.org/people/aurora-real-de-asua/">Aurora Real De Asua</a>, and <a href="https://www.courttheatre.org/people/eric-slater/">Eric Slater</a>.

Please note: the online reading of <em>Fen </em>will only be viewable 12/7/2020 - 12/17/2020.

<hr />

<img class="wp-image-15127 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/dramaturgicalprocess.jpg" alt="" width="400" height="225" />
<h3>The Director/Dramaturg Collaboration</h3>
<h4>December 9, 2020 | Featuring Derek Matson and Vanessa Stalling</h4>
In this session, Derek and director Vanessa Stalling will sit down for a conversation to share what they learned from the play reading and from the other sessions in the series. They’ll flag which aspects of the play might especially need the dramaturg’s support, and they’ll discuss the play’s big ideas, just as they would do before heading into the rehearsal process.
<h2>About the Scholars and Artists</h2>
<div>

<strong>Derek Matson</strong> is a dramaturg and translator of theater and opera. His dramaturgy has included productions with Court Theatre (<em>Photography 51</em>, <em>The Mousetrap</em>), Steppenwolf (<em>The Wheel</em>), The House Theatre of Chicago (<em>United Flight</em> <em>232</em>, <em>The Hammer Trinity</em>), and American Theater Company (<em>Columbinus</em>), among many others. Derek studied acting at the Cours Florent in Paris. His translations of French, Spanish, Italian, Russian, German, and Catalan have been featured on ARTE in France and at Lyric Opera of Chicago, Houston Grand Opera, Wolf Trap Opera, and Cornell University, where he earned his M.A. in Theatre and Performance Studies. Derek’s a former recipient of a Fulbright Assistantship to France and a Rotary Cultural Ambassadorial Scholarship to Russia.

</div>
<div>

<strong>Dr. Siân Adiseshiah</strong> joined Loughborough University as Senior Lecturer in English and Drama in June 2018 as part of its Excellence 100 campaign. Her research interests lie mostly in contemporary theatre and 21st-century literary studies, utopianism, class studies, feminist theatre, and age studies. Her PhD on the plays of contemporary playwright Caryl Churchill was funded by the AHRC. We are so excited for how Professor Adiseshiah's deep knowledge of Churchill will inform our experience of this play.

</div>
<div><strong>Professor Chamberlain</strong> is a pioneer of oral history and life story methods, and has published widely on these, on women’s history, and Caribbean history. Her book,<i> Fenwomen: a portrait of women in an English village</i> was one of the sources of Caryl Churchill's play, <i>Fen</i><i>.</i> She now uses creative writing as a way of exploring contemporary historical questions particularly, though not exclusively, around the silences and untold stories of the Second World War and, in particular, women and memory. Visit <i><a href="https://urldefense.com/v3/__http://www.marychamberlainbooks.com/__;!!BpyFHLRN4TMTrA!rIGhb6aUrlT5eLbJs1XIxpbTmc4TxvzVLE0H2LKTUJ_PffmzoU6Fx_vNwaTsiPD3bgFd7f3g$" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://urldefense.com/v3/__http://www.marychamberlainbooks.com/__;!!BpyFHLRN4TMTrA!rIGhb6aUrlT5eLbJs1XIxpbTmc4TxvzVLE0H2LKTUJ_PffmzoU6Fx_vNwaTsiPD3bgFd7f3g$&amp;source=gmail&amp;ust=1605713894054000&amp;usg=AFQjCNH1NA3bvR3wvtBWPnjiWXy4dCt-lQ">www.marychamberlainbooks.com.</a></i></div>
<div></div>
<div><strong>Vanessa Stalling </strong>is a director of theater. Recent productions include: <em>Roe</em>, at The Goodman Theatre, <em>Tiny Beautiful Things</em>, at Victory Gardens, and <em>Photograph 51 </em>at The Court Theatre, for which she won a Jeff Award for Best Direction. Her adaptation and direction of <em>United Flight 232 </em>from the book <a href="http://www.laurencegonzales.com/232.html" target="_blank" rel="noopener noreferrer"><em>Flight 232</em></a>, by Laurence Gonzales, won Jeff Awards for Best Production and Best Ensemble. Upcoming productions include <em>The Great Leap</em>, at AsoloRep. Vanessa was a primary artist at Redmoon Theater where she served as a director, performer, and Associate Artistic Director. As an artist at Redmoon, she enjoyed directing several productions including a remount of <em>The Cabinet</em>, which toured Brazil as part of the FILO Festival, <em>Last of My Species</em>, <em>Winter Pageant</em>, <em>Princess Club</em>, <em>Twilight Orchard</em>, and roaming performances for President Obama's Halloween celebrations at The White House. She has held teaching positions at Roosevelt University, Columbia College, University of Chicago, and is Area Head of directing at UC San Diego's Department of Theatre &amp; Dance.</div>

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

&nbsp;
<div id="WRchTxt10" class="_1Z_nJ" data-testid="richTextElement">
<p class="font_9"><em>Photo of Vanessa Stalling by Ryan Bourque.</em></p>

</div>
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<span style="font-weight: 400;">Court Theatre is thrilled to share that we received 3 Jeff Awards for our production of August Wilson's <a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><em>King Hedley II</em></a>, directed by Resident Artist <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a>, including Best Production, Best Performer in a Principal Role, and Best Performer in a Supporting Role. During such a difficult time for performing arts organizations, this year's <a href="https://youtu.be/db26JQAeufs">online Jeff Awards ceremony</a> served as a rousing reminder of the powerful role Chicago's artists and cultural institutions play in our city.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>
<h3>2020 Court Theatre Jeff Award Recipients</h3>
<b>Production – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre

<strong>Performer in a Principal Role – Play</strong>
<a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston, Jr.</a> (Hedley) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Performer in a Supporting Role – Play</strong>
<a href="https://www.courttheatre.org/people/a-c-smith/">A.C. Smith</a> (Elmore) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and look forward to being able to attend and celebrate live performance again. Congratulations to all of the award winners!</span><span style="font-weight: 400;">
</span>

<em>Photo of Ronald L. Conner, Kelvin Roston, Jr., and A.C. Smith (Michael Brosilow).</em>"
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          string(5365) "<img class="alignnone size-full wp-image-14453" src="https://www.courttheatre.org/wp-content/uploads/2020/08/kinghedley_800.jpg" alt="King Hedley II" width="800" height="300" />

The Black Theater Alliance Awards, Inc. (BTAA) announced nominations for the 26th Annual Black Theater Alliance/Ira Aldridge Awards. BTAA planned to hold a live event at Norman's Bistro Restaurant, located at 1001 East 43rd Street on Monday, November 2, 2020, but due to Governor Pritzker's mandate restrictions that went into effect that day all Illinois restaurants and bars can't be open for business due to a Covid-19 increase, the 26th Black Theater Alliance/Ira Aldridge Awards has been canceled.

Congratulations to all of the award winners, and a special shout out to Kelvin Roston, Jr. and resident artist Ron OJ Parson!

<strong>The Negro Ensemble Company Award</strong>
Outstanding Stage Production
<em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Lorraine Hansberry Award</strong>
Best Writing of a Play
James Ijames - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The August Wilson Award</strong>
Best Writing of a Musical
John L. Ruffin - <em>Lady Sings The Blues The Musical</em> - John Ruffin's Theater 47

<strong>The Target Community Relations Award</strong>
Best Ensemble
<em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Lloyd Richards Award</strong>
Best Direction of a Play
Ron OJ Parson -<em> Stick Fly</em> - Writers Theatre

<strong>The Oscar Brown, Jr. Award</strong>
Best Direction of a Musical
Daryl D. Brooks - <em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Douglas Alan Mann Award</strong>
Best Direction of an Ensemble
Wardell Julius Clark - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Sidney Poitier Award</strong>
Best Leading Actor in a Play
Donn Carl Harper - <em>The Master Comic</em> - MPAACT
Kelvin Roston, Jr. - <em>King Hedley II</em> - Court Theatre

<strong>The Ossie Davis, Jr. Award</strong>
Best Featured Actor in a Play
Clinton Lowe - <em>The First Deep Breath</em> - Victory Gardens

<strong>The Ruby Dee Award</strong>
Best Leading Actress in a Play
Ayanna Bria Bakari - <em>The Niceties</em> - Writers Theatre
Aneisa J. Hicks - <em>Graveyard Shift</em> - Goodman Theatre

<strong>The Hattie McDaniel Award</strong>
Best Featured Actress in a Play
Ashley Joy - <em>A Raisin In The Sun</em> - Invictus Theatre Company
Celeste Williams - <em>The First Deep Breath</em> - Victory Gardens Theater

<strong>The Harry Belafonte Award</strong>
Best Actor in an Ensemble
Eric Gerard - <em>P.Y.G., or The Mis-Edumacation of Dorian Belle</em> - Jackalope Theatre Company

<strong>The Ethel Waters Award</strong>
Best Actress in an Ensemble
Ann Joseph - <em>Day Of Absence</em> - Congo Square Theatre Company

<strong>The Denzel Washington Award</strong>
Most Promising Actor
Michael Morrow - (<em>Middle Passage</em>) - Lifeline Theatre

<strong>The Phylicia Rashad Award</strong>
Most Promising Actress
Shenise Brown - (Spoken Word) - MPAACT

<strong>The Sammy Davis, Jr. Award</strong>
Best Leading Actor in a Musical
James T. Lane - <em>Mary Poppins</em> - Drury Lane Theatre

<strong>The Bill Bojangles Robinson Award</strong>
Best Featured Actor in a Musical
Melvin Abston - <em>The Color Purple</em> - Drury Lane Theatre

<strong>The Lena Horne Award</strong>
Best Leading Actress in a Musical
Makeda Grier - <em>Lady Sings The Blues The Musical</em> - John Ruffin's Theatre 47

<strong>The Eartha Kitt Award</strong>
Best Featured Actress in a Musical
Kyrie Courter - <em>The Color Purple</em> - Drury Lane Theatre

<strong>The Duke Ellington Award</strong>
Best Musical Direction
Robert Reddrick - <em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Katherine Dunham Award</strong>
Best Choreography in a Play or Music/Dance Program
Gary Abbott, Joshua L. Ishmon, Kevin Iega Jeff, Tshediso Kabulu, and Nicole Clarke Springer - <em>Gesem: East of The Nile from Reaffirmed/Reimagined</em> - Deeply Rooted Dance Theater

<strong>The Ruth E. Carter Award</strong>
Best Costume Design
Izumi Inaba - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Shirley Prendergast Award</strong>
Best Lighting Design
Jason Lynch - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Ed Burbridge Award</strong>
Best Set Design
Ryan Emens - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Mike Sargent Award</strong>
Best Sound Design
Jeffrey Levin - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Alvin Ailey Award</strong>
Best Choreography (Non-Resident)
Darrell Grand Moultrie - <em>Ounce Of Faith</em> - Alvin Ailey American Dance Theater

<strong>The Andre' DeShields Award</strong>
Best Actor in a Play (Non-Resident)
Mike Wiley - <em>Dar He: The Story Of Emmett Till</em> - A Mike Wiley Production

<strong>The Melba Moore Award</strong>
Best Actress in a Play (Non-Resident)
Courtnee Carter - <em>Once On This Island</em> - Broadway in Chicago

&nbsp;

<em>Photo of Kelvin Roston, Jr. and TayLar in KING HEDLEY II by Michael Brosilow.</em>"
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          string(7092) "<span style="font-weight: 400;">On October 26, Professor Tara Zahra and Marilyn F. Vitale Artistic Director Charles Newell discussed 20th century anti-Semitic laws in Central Europe and the historical structures that impacted Jewish families’ choices to stay in Austria or send their children to safety in the face of rising Fascism. Here are 10 takeaways from their conversation. </span>
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 	<li style="font-weight: 400;"><span style="font-weight: 400;">Hermann’s aspiration for assimilation</span></li>
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<span style="font-weight: 400;">At the turn of the century, the Austro-Hungarian empire was a large, multhnic empire where, in theory, one could be both an Austrian and a Jew, One didn;t have to choose, which made many in the Jewish population very loyal to the empire. Even Hermann, the fierce convert, doesn’t deny his background or abandon his family. There was a legal structure in the empire that promised a form of equality, but there was still a glass ceiling in the social world.</span>

<span style="font-weight: 400;">2. Austro-Hungarian Empire</span>

<span style="font-weight: 400;">Not a nation-state. A state that at the federal and state level recognized the diversity and rights of diff people to be equal citizens and preserve their different languages and traditions. For example, there were ten official languages of the empire, children had the right to be educated to a certain level in their native tongue. These laws created a context where there was coexistence to an extent, but also conflict. Vienna in particular draws p from across the empire who have aspirations to be in the center and have social mobility. </span>

<span style="font-weight: 400;">3. 1918 Law</span>

<span style="font-weight: 400;">The empire breaks into separate nation-states that aspire to be ethnically homogeneous. Vienna goes from being the capital of an empire to a capital without an empire. A ruling of the Austrian Supreme Court said that if one was a German speaking Austrian Jew who was living someplace in the former empire and they were coming to Vienna as a refugee from their state, they could not be considered an Austrian because they were identified as not belonging to the German race. This was a legalized form of racial exclusion. </span>

<span style="font-weight: 400;">4. The play depicts a small segment of Viennese society.</span>

<span style="font-weight: 400;">The Merz family are manufacturers who have enough money to be in the upper echelon of society where they can have artwork commissioned and engage in intellectual discussions that suggest a high quality education and awareness of cultural developments at the time. However, there were other Jews on every rung of the social ladder, being part of not only the elite but also the working classes. There were many different social and cultural experiences, and the play gives us a slice from that world.</span>

<span style="font-weight: 400;">5. The title</span>

<span style="font-weight: 400;">The title refers to the Jewish district of Leopoldstadt, but none of the play takes place in it. It is referenced, and there is a connection between it and the character Leo.</span>

<span style="font-weight: 400;">6. Marriage</span>

<span style="font-weight: 400;">Intermarriage was a factor of religious conversion. The marriages between Jews and Catholicism represented the possibilities and limits of integration. Civil marriage was very rare where religious marriages were not. Jews could marry Catholics and convert Catholicism, which was accepted and resulted in Austria having a high rate of conversion of all the European states at the time. Conversion was also seen as a way to be further involved in high cultural life and opportunities.</span>

<span style="font-weight: 400;">7. Staying in Vienna after 1938</span>

<span style="font-weight: 400;">Most people did not leave because they could not. Access to visas was limited. As Stoppard points out in mentioning the Evian Conference, other countries would not let Jewish refugees in as they claimed they had quotas to follow. In the US, the State Department was anti-Semitic and ⅔ of the population was against letting Jewish refugee children in. For those who were reluctant to leave in Austria, it was a matter of family and money. They had their lives in Austria and people who had older family members who needed care meant that they were more inclined to stay.</span>

<span style="font-weight: 400;">8. Links to other Holocaust literature</span>

<span style="font-weight: 400;">The family portrayed in </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;"> is upper middle class, a class status that is often true of well-known Holocaust literature we have. People of this class were literate and educated, so thus more likely to somehow document their experience via writing. Middle class assimilated Jews are often featured in media that depicts the Holocaust rather than Jewish Orthodox people, the elderly, and the poor. Children are also heavily featured in Holocaust memory culture. </span>

<span style="font-weight: 400;">9. Nathan</span>

<span style="font-weight: 400;">Nathan’s character hints at the problems that survivors faced upon their return to their places of living from before. Nathan refers to living in a Displaced Persons camp at one point. These were US and British zones. The US had a Displaced Persons ACt that accepted Jews of certain backgrounds into the country, like farmers and anti-Communists. Other countries had other preferences of refugees they would let in, but everybody wanted laborers, not intellectuals. Jews faced obstacles in finding a new home, which explains the enthusiasm for Zionism in the Displaced Persons camp. Austria claimed to be the first victim of Hitler’s campaign, not an accomplice, which let it escape facing its own severe problems with Anti-Semitisim for some time. Jews were not treated as heroes or valued survivors upon their return. Some survivors wanted to talk of their experiences, but were silenced as no one would listen for a long time.</span>

<span style="font-weight: 400;">10. The size of the cast</span>

<span style="font-weight: 400;">The size of the cast is quite representative of the population it is representing. The Jewish population before WWII in Vienna was large and lively, full of unique individuals leading their own lives just as the family is. At the end of the play, only three survivors are left out of the 40 cast members, just as there were few survivors left in comparison to their numbers before, which reiterates the scale and tragedy of the Holocaust.</span>

<span style="font-weight: 400;">Tune into our next sessions of </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Deep Dive: LEOPOLDSTADT</span></a><span style="font-weight: 400;"> for our upcoming digital reading and more thought-provoking conversations!</span>"
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          string(4960) "<span style="font-weight: 400;">On October 19, Professors Leora Auslander, Christine Mehring, and David Levin provided lectures from the perspectives of memory, art, and performance to examine </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Here are 9 key takeaways from the fascinating third session of our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> program.</span>
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 	<li style="font-weight: 400;"><span style="font-weight: 400;">The Merz family is inspired by the family of the philosopher Ludwig Wittgenstein.</span></li>
</ol>
<span style="font-weight: 400;">Wittgenstein was a philosopher of logic, math, and language. Wittgenstein had a large extended family as well and wrote about concepts such as “family resemblance.”</span>

<span style="font-weight: 400;">2. The title is meant to draw our attention not only to the district, but also the character Leo, who resembles Stoppard.</span>

<span style="font-weight: 400;"><em>Leopoldstadt</em> is about a lost world and also acts as a claim of affiliation with it.</span>

<span style="font-weight: 400;">3. Stoppard’s life in an industrial town of Czechoslovakia was middle class</span>

<span style="font-weight: 400;">However, he portrays the upper bourgeoisie of the community, perhaps because he identifies more with the intellectualism and highly cultured character of their world.</span>

<span style="font-weight: 400;">4. Gretl’s portrait</span>

<span style="font-weight: 400;">Klimt’s work is highly symbolic in the play. At the time it is set, Klimt is a contemporary artist, with the painting still being created at the beginning of the play. He is in the middle of his rise to fame in Vienna and would eventually be a cofounder of Viennese Secession. He is known for his decorative excess in his later work with his earlier pieces being wall paintings and society portraits. The Klimt portrait has relevance at the time, but the art history it captures grows outdated.</span>

<span style="font-weight: 400;">5. Vienna Secession</span>

<span style="font-weight: 400;">The Vienna Secession was an art movement. Hermann runs a textile business. Textiles were important in the Secession as interior design became elevated as its own art. However, the Merz apartment as furnished is not a model of modernity as its decorations still carry the past into the present. </span>

<span style="font-weight: 400;">6. Photography</span>

<span style="font-weight: 400;">A photo album frequently appears in the play. Visual art features as a manifestation of cultural history. Artforms are objects of this history and become historical artifacts that linger even as people die. Grandma Emilia at the beginning recounts the shift from photography as a precious form that was not accessible to something that no longer aided memory, but drowned it as the pictures existed but the identities of who the pictures portrayed can be lost.</span>

<span style="font-weight: 400;">7. The play can be confusing.</span>

<span style="font-weight: 400;">This characteristic is due to the large cast. However, this confusion is a way to reinforce that the family is in question itself. The identity of its members is also in question, specifically the musings of “who am I and who am I in this family” with respect to the character of Leo. These questions resonate in the textual world. </span>

<span style="font-weight: 400;">8. Confrontation around name</span>

<span style="font-weight: 400;">Nathan confronts Leo asking him whether he is Leo, Leonard, or Leopold. This question brings up whose world we’re occupying (that of the Viennese-Jewish Leopold or the removed English Leonard) and remains open even in the end. Self-indictment of the autobiographical resonances of the play is also relevant in this conversation. The “self” here is in question as well—it has elements of Stoppard himself due to the autobiographical elements but also refers to the character of Leo. The playwright indicts the figure who may or may not stand in for the playwright.</span>

<span style="font-weight: 400;">9. Bossy setting?</span>

<span style="font-weight: 400;">Stoppard writes extremely detailed, specific instructions for anyone who wants to stage the piece. It is important to render the fixity it aspires to. However, due to the endless creativity of theatre, some things can be changed, such as how photo albums are presented. There is an opportunity for re imaginability within a set frame of fixity. </span>

<span style="font-weight: 400;">Want to dive deeper into Stoppard’s play? Tune into our next </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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          ["post_content"]=>
          string(3304) "On October 12, Dean John Boyer, the founder of the University of Chicago's Vienna Center and Vienna Study Abroad Program, provided an in-depth lecture on the history of the Habsburg Empire and the city politics of Vienna in the 20th century. Here are 8 takeaways from session 2 of our Deep Dive series, "Vienna, Austria, and the Habsburg Empire."
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">When the play opens, the chief autocrat is Emperor Franz Josef.</span></li>
</ol>
<span style="font-weight: 400;">This emperor came to define the ethos of the empire. He reigned from 1848 to 1916. His rule provided stability to the empire.</span>

<span style="font-weight: 400;">2. High Austria aristocracy was influential.</span>

<span style="font-weight: 400;">They consisted of wealthy, large families who owned huge chunks of land around Austria. The aristocracy is a critical component of the culture of Vienna.</span>

<span style="font-weight: 400;">3. Vienna as the site of a vibrant Jewish community</span>

<span style="font-weight: 400;">After the Revolution of 1848, due to migration from places like Bohemia and Hungary, the Jewish population increased. In 1910, near 90% of the civilian population of Vienna was Jewish. </span><span style="font-weight: 400;">After 1945, the Jewish and aristocratic communities were fundamentally altered from the war, a change that still affects the fabric of the region today.</span>

<span style="font-weight: 400;">4. Second district of Vienna across the canal is called Leopoldstadt.</span>

<span style="font-weight: 400;">It is where the play gets its title. Leopoldstadt is also near the Ringstrasse, an important cultural boulevard.</span>

<span style="font-weight: 400;"> 5. In 1899, there were several political movements in Austria.</span>

<span style="font-weight: 400;">The Christian Social Party emerges in Vienna with support from rural areas of Austria; it still exists today as the People’s Party. The liberal bourgeois movement was also an integral player in politics.</span>

<span style="font-weight: 400;">6. In 1934, the Austrian Civil War occurred for four days.</span>

<span style="font-weight: 400;">The ramifications of this division are still felt today.</span>

<span style="font-weight: 400;">7. The German occupation of Austria occurred between 1938 and 1945.</span>

<span style="font-weight: 400;">Eyewitness accounts from the time describe the terrible quality of life during this period. There was a significant loss of faith in the governmental institutions and a system of law.</span>

<span style="font-weight: 400;">8. In 1955, a treaty was signed that granted full territorial independence to Austria.</span>

<span style="font-weight: 400;">Occupying forces withdrew from Austria and the country had sovereignty restored for the first time since the Anschluss in 1938, when Austria was annexed into Nazi Germany.</span>

<span style="font-weight: 400;">To find out more about the rich history behind Stoppard’s new play, tune into our next </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Deep Dive</span></a><span style="font-weight: 400;"> session!</span>"
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          ["post_content"]=>
          string(2619) "On October 5, Marilyn F. Vitale Artistic Director Charles Newell provided a riveting overview of Tom Stoppard's most recent play. Here are 5 takeaways from Session 1 of our Deep Dive series, "An Introduction to the World of <em>Leopoldstadt</em>."
<ol>
 	<li><span style="font-weight: 400;">There’s a lot going on, but don’t get overwhelmed.</span></li>
</ol>
<span style="font-weight: 400;">The character cast is monumental by itself, but we put together a family tree to help you out! You can access the materials in your digital program.</span>

<span style="font-weight: 400;">2. Since there is so much going on, we recommend you read the play yourself first.</span>

<span style="font-weight: 400;">While it’s not necessary, we strongly encourage our audiences to read the play before they embark on this in-depth intellectual journey our programs provide. You can purchase it at the </span><a href="https://www.semcoop.com/court-theatre"><span style="font-weight: 400;">Seminary Co-op</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">3. It’s not autobiographical, but it has biographical elements.</span>

<span style="font-weight: 400;">Stoppard was inspired to write the essay after learning of his own Jewish roots. The characters are not real, but the historical events and documents mentioned are. However, there IS an autobiography now available about Tom Stoppard by </span><a href="http://www.hermionelee.com/stoppard.html"><span style="font-weight: 400;">Hermione Lee</span></a><span style="font-weight: 400;">! </span>

<span style="font-weight: 400;">4. The part where Leo gets stitches is inspired by a real event.</span>

<span style="font-weight: 400;">Stoppard met a patient of his biological father’s years later. His father stitched a wound for a young woman, and she showed him the scar when they met. The experience was deeply touching for Stoppard, who has nothing left of his father, and the mark was a last vestige of his father’s existence. The character Leo and Stoppard do share some parallels, as all writers embed bits of themselves in their work.</span>

<span style="font-weight: 400;">5. Every little thing matters.</span>

<span style="font-weight: 400;">There is a lot of deeper content than you may think at first read. Every detail is significant. </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Tune into</span></a><span style="font-weight: 400;"> our next sessions to dive deeper into Stoppard’s play!</span>"
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          string(3163) "On October 14, Dr. Sarah Nooter and Dr. Clifford Ando held a conversation about the afterlife of <em>The Bacchae</em> in the form of adaptation. The scholars focused in on two key adaptations to delve into a deeper discussion of the thematic issues in all three texts. Read on for 5 takeaways from our second session in our Theatre &amp; Thought BACCHAE Series, "Identity, History, and Change."
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 	<li style="font-weight: 400;"><span style="font-weight: 400;">It has a relationship with the </span><i><span style="font-weight: 400;">Gospel of John</span></i><span style="font-weight: 400;">.</span></li>
</ol>
<span style="font-weight: 400;">The <em>Gospel of John</em> and <em>The Bacchae</em> don’t have a direct line of influence, but they are both texts about gods arriving in a community. They narrate the stories in similar ways, thematizing similar issues like the problems of arrival and recognition. They both have a prologue where the audience knows the truth, the believers state their devotion, there is conflict between believers and nonbelievers. In both, ethical challenges are posed to the community.</span>

<span style="font-weight: 400;">2. Jesus and Dionysus Comparison</span>

<span style="font-weight: 400;">Many people throughout the years have made parallels between these figures as neither is recognized by his own people at first.</span>

<span style="font-weight: 400;">3. It also influenced Wole Soyinka’s 1973 </span><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">This <em>Bacchae</em> was first performed in London. It is about convergence of traditions. However, the adaptation holds many differences. In it, there are two Choruses, comparisons between Dionysus and the Yoruba god Ogun, and the recognition of slaves as sacrifices by the cruel Pentheus to the gods. The slave Chorus is alongside Euripides’ Chorus; they eventually work together while maintaining their separate identities.</span>

<span style="font-weight: 400;">4. Soyinka uses a scene from the </span><i><span style="font-weight: 400;">Gospel of John</span></i><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">Water being turned into wine, as wine is a central symbol in Soyinka’s version. The ending of this adaptation is one of peace and tranquility after the cruel leader Pentheus is vanquished, a sign of positivity for the community rather than punishment as in Euripides’ text.</span>

<span style="font-weight: 400;">5. New life and new meaning can be given to scholarly traditions.</span>

<span style="font-weight: 400;">Adaptation is an act of reinterpretation and rejuvenating old texts to make sure their relevance continues on in modern culture. There are numerous other adaptations of </span><i>The Bacchae</i>, like Charles Mee’s, that bring out different levels of meanings as well. To view one interpretative performance, tune into <a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/">our virtual reading</a>!"
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          string(4097) "On October 7, Dr. Sarah Nooter and Dr. Christopher Faraone discussed the background and motifs of <em>The Bacchae</em>. Read on for 8 takeaways from our first session of <em>The Bacchae</em> in our Theatre &amp; Thought series, "Euripides' <em>Bacchae</em>: Sight and Blindness; Self and Other."
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">In 405 BCE, </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;"> premiered in Athens. It was written near the end of Euripides’ life while he lived in Macedonia.</span></li>
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<span style="font-weight: 400;">It came at the end of a long century of Greek tragedy. As such, the work acts as a reflection on the entire tradition up until that point.</span>

<span style="font-weight: 400;">2. The play has religious connections.</span>

<span style="font-weight: 400;">Plays were performed in venues and events in honor of Dionysus, the patron god of theatre, wine, and nature. Dionysus was worshipped in every Greek city, but was never a primary god in the sense that Athens was devoted to Athena. Dionysus was worshipped both by men and women, distinct in a time when women worshipped female gods and men worshipped male gods.</span>

<span style="font-weight: 400;">3. Dionysus experiences human suffering.</span>

<span style="font-weight: 400;">Most of his myths are about him being captured, chased away, and feeling fear of death. This suffering made him closer to the human experience. He is a vengeful, powerful god in </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;">, but it is important to remember that he has suffered as well.</span>

<span style="font-weight: 400;">4. There are voluntary and coerced worshippers of Dionysus in the play.</span>

<span style="font-weight: 400;">There are two groups of women who are Bacchants, but have different relationships with Dionysus. The Chorus are voluntary worshippers of Dionysus and follow him everywhere. They do similar things as Theban Bacchans do, like running in nature and dancing, but the Theban women are not voluntary worshippers of Dionysus. They’re being punished in a fervent, twisted form of Bacchic religion after rejecting Dionysus’ godhood.</span>

<span style="font-weight: 400;">5. Mystery rites</span>

<span style="font-weight: 400;">We don’t know a lot about the mystery rites of Dionysus, but they most likely involved drinking. A mystery rite is about learning and experiencing something in a spiritual, religious ritual to help prepare the individual on how to react when they die and go to the Underworld.</span>

<span style="font-weight: 400;">6. Dionysus lusis</span>

<span style="font-weight: 400;">He loosens the daily cares and worries that drag the human spirit. During the ritual, the worshippers feel ecstasy and a loosening from their problems, something that can also bring destruction.</span>

<span style="font-weight: 400;">7. Scholarly interpretations are divided.</span>

<span style="font-weight: 400;">Some read the play and view Dionysus’ actions as justified while others comment that it is perhaps Euripides' way to critique religion and the cruelty of gods. </span>

<span style="font-weight: 400;">8. A political view</span>

<span style="font-weight: 400;">Dionysus is half-brother to mortal Pentheus; they are both sons of Thebes. Some view Dionysus as having political motivations to come back and kill Pentheus so he can be human king of Thebes. His viciousness is part of his human nature. </span>

<span style="font-weight: 400;">What do you think about these scholarly insights? Form your own interpretations by engaging with our  </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/"><span style="font-weight: 400;">Theatre &amp; Thought series</span></a><span style="font-weight: 400;"> for Euripides’ </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;">.</span>"
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        string(2751) "<span style="font-weight: 400;">On November 16, Marilyn F. Vitale Artistic Director Charles Newell and Professor David Levin held a digital talkback about the cast’s previous reading of the play. Here are 5 takeaways from their conversation.</span>

<strong>1. The vibrancy of cast performances draw you in.</strong>

<span style="font-weight: 400;">Getting to see this family full of vibrant, lively individuals interact with one another and getting to know their individual personalities, hearing their names reduced to a list of murdered relatives at the end makes their loss resonate even more deeply with audiences as the play sucks them in further over the course of the performance.</span>

<strong>2. Humanity, emotion, and intellect</strong>

<span style="font-weight: 400;">Stoppard’s play has all three, making it an exemplary play to engage with due to Court’s thoughtful approach and its connection with the University.</span>

<strong>3. Variety of POVs</strong>

<span style="font-weight: 400;">The POVs of different characters mesh and clash with one another to create more intriguing relationships and interpretations of them. With the time jumps and large cast, more interpretation is needed to decipher certain events and relationship developments that happen off-script, like the process of reconciliation between Hermann and Gretl after her adultery is revealed.</span>

<strong>4. Who am I?</strong>

<span style="font-weight: 400;">Questions such as the one above, “how did I become who I am now?”, and “where do I belong in this world?” are pertinent to the play when considering the characters’ existences within the cat’s cradle and in response to the developing situation in the world.</span>

<strong>5. UT Austin and Court Theatre</strong>

<span style="font-weight: 400;">The library at UT Austin wants to document how theatres are making theatre in the pandemic, so this institution, home to Stoppard’s archive (including boxes of handwritten notes, script drafts, and more), requested access to Court’s recorded performances of Stoppard’s works.</span>

<span style="font-weight: 400;">And with that, we conclude our Deep Dive series! If you missed out on any sessions, recordings are still available via the links and passwords previously sent out to audiences who registered for the event. Tune in to our next component of our Theatre &amp; Thought series, </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/theatre-thought/"><span style="font-weight: 400;">Caryl Churchill’s </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;"> + The Dramaturgical Process</span></a><span style="font-weight: 400;">.</span>"
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      string(2751) "<span style="font-weight: 400;">On November 16, Marilyn F. Vitale Artistic Director Charles Newell and Professor David Levin held a digital talkback about the cast’s previous reading of the play. Here are 5 takeaways from their conversation.</span>

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<span style="font-weight: 400;">Getting to see this family full of vibrant, lively individuals interact with one another and getting to know their individual personalities, hearing their names reduced to a list of murdered relatives at the end makes their loss resonate even more deeply with audiences as the play sucks them in further over the course of the performance.</span>

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<span style="font-weight: 400;">The library at UT Austin wants to document how theatres are making theatre in the pandemic, so this institution, home to Stoppard’s archive (including boxes of handwritten notes, script drafts, and more), requested access to Court’s recorded performances of Stoppard’s works.</span>

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<span style="font-weight: 400;">Employing astonishing theatrical imagery, Caryl Churchill’s </span><i><span style="font-weight: 400;">Fen</span></i><span style="font-weight: 400;"> interrogates issues of gender, class, and exploitation with grace, humor, and anger. Dramaturg and University of Chicago lecturer Derek Matson (</span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">, </span><a href="https://www.courttheatre.org/season-tickets/2019-2020-season/the-mousetrap/"><i><span style="font-weight: 400;">The Mousetrap</span></i></a><span style="font-weight: 400;">) digs into the multitudinous themes and histories that make Churchill’s play tick, offering insight into how this type of research informs the creative process and how dramaturgy is conducted in the theatre. Jeff Award-winning director Vanessa Stalling (</span><a href="https://www.courttheatre.org/season-tickets/2018-2019-season/photograph-51/"><i><span style="font-weight: 400;">Photograph 51</span></i></a><span style="font-weight: 400;">) will join Matson in these conversations to discuss how dramaturgy fuels her own work as an artist.</span><span style="font-weight: 400;"> </span>

<hr />

<img class="wp-image-15111 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/dramaturgy_400x225.jpg" alt="" width="400" height="225" />
<h3>What is Dramaturgy and Where to Start with <em>Fen</em>?</h3>
<h4>November 30, 2020 | Featuring Derek Matson and Dr. Siân Adiseshiah</h4>
Ever wonder what a dramaturg does? In this session, Derek explains the role of the dramaturg in the theatrical production process, and he launches his journey into the play world of Fen by speaking with Churchill scholar Siân Adiseshiah about what makes Caryl Churchill one of our greatest living playwrights.

<hr />

<img class="wp-image-15112 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/fenwomen_400x225.jpg" alt="" width="400" height="225" />
<h3><em>Fenwomen</em> and Village Life in the Fens</h3>
<h4>December 2, 2020 | Derek Matson and Professor Mary Chamberlain</h4>
In this session, Derek talks with Professor Mary Chamberlain, author of <i>Fenwomen: A Portrait of Women in an English Village</i>, the pioneering work of women’s oral history that served as an inspiration for Caryl Churchill’s <i>Fen</i>.

<hr />

<img class="wp-image-15110 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/fen_400x225.jpg" alt="" width="400" height="225" />
<h3>Digital Reading: Caryl Churchill's<em> Fen</em></h3>
<h4>December 7, 2020
Directed by Vanessa Stalling</h4>
The online reading of <em>Fen</em> will be brought to life by Jeff Award-winning director Vanessa Stalling and actors <a href="https://www.courttheatre.org/people/isa-arciniegas/">Isa Arciniegas</a>, <a href="https://www.courttheatre.org/people/diana-coates/">Diana Coates</a>, <a href="https://www.courttheatre.org/people/elana-elyce/">Elana Elyce</a>, <a href="https://www.courttheatre.org/people/emjoy-gavino/">Emjoy Gavino</a>, <a href="https://www.courttheatre.org/people/cruz-gonzalez-cadel/">Cruz Gonzalez-Cadel</a>, <a href="https://www.courttheatre.org/people/aurora-real-de-asua/">Aurora Real De Asua</a>, and <a href="https://www.courttheatre.org/people/eric-slater/">Eric Slater</a>.

Please note: the online reading of <em>Fen </em>will only be viewable 12/7/2020 - 12/17/2020.

<hr />

<img class="wp-image-15127 size-full alignright" src="https://www.courttheatre.org/wp-content/uploads/2020/11/dramaturgicalprocess.jpg" alt="" width="400" height="225" />
<h3>The Director/Dramaturg Collaboration</h3>
<h4>December 9, 2020 | Featuring Derek Matson and Vanessa Stalling</h4>
In this session, Derek and director Vanessa Stalling will sit down for a conversation to share what they learned from the play reading and from the other sessions in the series. They’ll flag which aspects of the play might especially need the dramaturg’s support, and they’ll discuss the play’s big ideas, just as they would do before heading into the rehearsal process.
<h2>About the Scholars and Artists</h2>
<div>

<strong>Derek Matson</strong> is a dramaturg and translator of theater and opera. His dramaturgy has included productions with Court Theatre (<em>Photography 51</em>, <em>The Mousetrap</em>), Steppenwolf (<em>The Wheel</em>), The House Theatre of Chicago (<em>United Flight</em> <em>232</em>, <em>The Hammer Trinity</em>), and American Theater Company (<em>Columbinus</em>), among many others. Derek studied acting at the Cours Florent in Paris. His translations of French, Spanish, Italian, Russian, German, and Catalan have been featured on ARTE in France and at Lyric Opera of Chicago, Houston Grand Opera, Wolf Trap Opera, and Cornell University, where he earned his M.A. in Theatre and Performance Studies. Derek’s a former recipient of a Fulbright Assistantship to France and a Rotary Cultural Ambassadorial Scholarship to Russia.

</div>
<div>

<strong>Dr. Siân Adiseshiah</strong> joined Loughborough University as Senior Lecturer in English and Drama in June 2018 as part of its Excellence 100 campaign. Her research interests lie mostly in contemporary theatre and 21st-century literary studies, utopianism, class studies, feminist theatre, and age studies. Her PhD on the plays of contemporary playwright Caryl Churchill was funded by the AHRC. We are so excited for how Professor Adiseshiah's deep knowledge of Churchill will inform our experience of this play.

</div>
<div><strong>Professor Chamberlain</strong> is a pioneer of oral history and life story methods, and has published widely on these, on women’s history, and Caribbean history. Her book,<i> Fenwomen: a portrait of women in an English village</i> was one of the sources of Caryl Churchill's play, <i>Fen</i><i>.</i> She now uses creative writing as a way of exploring contemporary historical questions particularly, though not exclusively, around the silences and untold stories of the Second World War and, in particular, women and memory. Visit <i><a href="https://urldefense.com/v3/__http://www.marychamberlainbooks.com/__;!!BpyFHLRN4TMTrA!rIGhb6aUrlT5eLbJs1XIxpbTmc4TxvzVLE0H2LKTUJ_PffmzoU6Fx_vNwaTsiPD3bgFd7f3g$" target="_blank" rel="noopener noreferrer" data-saferedirecturl="https://www.google.com/url?q=https://urldefense.com/v3/__http://www.marychamberlainbooks.com/__;!!BpyFHLRN4TMTrA!rIGhb6aUrlT5eLbJs1XIxpbTmc4TxvzVLE0H2LKTUJ_PffmzoU6Fx_vNwaTsiPD3bgFd7f3g$&amp;source=gmail&amp;ust=1605713894054000&amp;usg=AFQjCNH1NA3bvR3wvtBWPnjiWXy4dCt-lQ">www.marychamberlainbooks.com.</a></i></div>
<div></div>
<div><strong>Vanessa Stalling </strong>is a director of theater. Recent productions include: <em>Roe</em>, at The Goodman Theatre, <em>Tiny Beautiful Things</em>, at Victory Gardens, and <em>Photograph 51 </em>at The Court Theatre, for which she won a Jeff Award for Best Direction. Her adaptation and direction of <em>United Flight 232 </em>from the book <a href="http://www.laurencegonzales.com/232.html" target="_blank" rel="noopener noreferrer"><em>Flight 232</em></a>, by Laurence Gonzales, won Jeff Awards for Best Production and Best Ensemble. Upcoming productions include <em>The Great Leap</em>, at AsoloRep. Vanessa was a primary artist at Redmoon Theater where she served as a director, performer, and Associate Artistic Director. As an artist at Redmoon, she enjoyed directing several productions including a remount of <em>The Cabinet</em>, which toured Brazil as part of the FILO Festival, <em>Last of My Species</em>, <em>Winter Pageant</em>, <em>Princess Club</em>, <em>Twilight Orchard</em>, and roaming performances for President Obama's Halloween celebrations at The White House. She has held teaching positions at Roosevelt University, Columbia College, University of Chicago, and is Area Head of directing at UC San Diego's Department of Theatre &amp; Dance.</div>

<hr />

<span style="font-weight: 400;">Court’s <b>Theatre &amp; Thought series</b> connects audiences to expert insights from University of Chicago faculty about the historical context, thematic relevance, and artistic possibilities surrounding classic works. Each Theatre &amp; Thought topic will feature a different play and include virtual meetings with University scholars to discuss the ideas underpinning these classic texts.  </span>

<a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer"><img class="size-full wp-image-14219 alignleft" src="https://www.courttheatre.org/wp-content/uploads/2020/07/graham-logo-75.jpg" alt="Graham School" width="75" height="75" /></a><span style="font-weight: 400;">Court’s remote, digital experiences are produced in partnership with the <strong><a href="https://grahamschool.uchicago.edu" target="_blank" rel="noopener noreferrer">University of Chicago Graham School's</a> Arts@Graham series.</strong></span>

&nbsp;
<div id="WRchTxt10" class="_1Z_nJ" data-testid="richTextElement">
<p class="font_9"><em>Photo of Vanessa Stalling by Ryan Bourque.</em></p>

</div>
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      string(2357) "<span style="font-weight: 400;"><img class="alignnone wp-image-15068 size-full" src="https://www.courttheatre.org/wp-content/uploads/2020/11/hedley_800x300.jpg" alt="" width="800" height="300" /></span>

<span style="font-weight: 400;">Court Theatre is thrilled to share that we received 3 Jeff Awards for our production of August Wilson's <a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/"><em>King Hedley II</em></a>, directed by Resident Artist <a href="https://www.courttheatre.org/people/ron-oj-parson/">Ron OJ Parson</a>, including Best Production, Best Performer in a Principal Role, and Best Performer in a Supporting Role. During such a difficult time for performing arts organizations, this year's <a href="https://youtu.be/db26JQAeufs">online Jeff Awards ceremony</a> served as a rousing reminder of the powerful role Chicago's artists and cultural institutions play in our city.</span>

<span style="font-weight: 400;">Each year, the Joseph Jefferson Awards committee honors outstanding Chicago area theatres and artists. This achievement continues to reinforce the consistent quality of our artistic contributions to Chicago’s theatre scene.</span>
<h3>2020 Court Theatre Jeff Award Recipients</h3>
<b>Production – Play (Large)
</b>“<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” – Court Theatre

<strong>Performer in a Principal Role – Play</strong>
<a href="https://www.courttheatre.org/people/kelvin-roston-jr/">Kelvin Roston, Jr.</a> (Hedley) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<strong>Performer in a Supporting Role – Play</strong>
<a href="https://www.courttheatre.org/people/a-c-smith/">A.C. Smith</a> (Elmore) - “<a href="https://www.courttheatre.org/season-tickets/2019-2020-season/king-hedley-ii/">King Hedley II</a>” - Court Theatre

<span style="font-weight: 400;">We are privileged to be part of the incredible theatre community in Chicago, and look forward to being able to attend and celebrate live performance again. Congratulations to all of the award winners!</span><span style="font-weight: 400;">
</span>

<em>Photo of Ronald L. Conner, Kelvin Roston, Jr., and A.C. Smith (Michael Brosilow).</em>"
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The Black Theater Alliance Awards, Inc. (BTAA) announced nominations for the 26th Annual Black Theater Alliance/Ira Aldridge Awards. BTAA planned to hold a live event at Norman's Bistro Restaurant, located at 1001 East 43rd Street on Monday, November 2, 2020, but due to Governor Pritzker's mandate restrictions that went into effect that day all Illinois restaurants and bars can't be open for business due to a Covid-19 increase, the 26th Black Theater Alliance/Ira Aldridge Awards has been canceled.

Congratulations to all of the award winners, and a special shout out to Kelvin Roston, Jr. and resident artist Ron OJ Parson!

<strong>The Negro Ensemble Company Award</strong>
Outstanding Stage Production
<em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Lorraine Hansberry Award</strong>
Best Writing of a Play
James Ijames - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The August Wilson Award</strong>
Best Writing of a Musical
John L. Ruffin - <em>Lady Sings The Blues The Musical</em> - John Ruffin's Theater 47

<strong>The Target Community Relations Award</strong>
Best Ensemble
<em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Lloyd Richards Award</strong>
Best Direction of a Play
Ron OJ Parson -<em> Stick Fly</em> - Writers Theatre

<strong>The Oscar Brown, Jr. Award</strong>
Best Direction of a Musical
Daryl D. Brooks - <em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Douglas Alan Mann Award</strong>
Best Direction of an Ensemble
Wardell Julius Clark - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Sidney Poitier Award</strong>
Best Leading Actor in a Play
Donn Carl Harper - <em>The Master Comic</em> - MPAACT
Kelvin Roston, Jr. - <em>King Hedley II</em> - Court Theatre

<strong>The Ossie Davis, Jr. Award</strong>
Best Featured Actor in a Play
Clinton Lowe - <em>The First Deep Breath</em> - Victory Gardens

<strong>The Ruby Dee Award</strong>
Best Leading Actress in a Play
Ayanna Bria Bakari - <em>The Niceties</em> - Writers Theatre
Aneisa J. Hicks - <em>Graveyard Shift</em> - Goodman Theatre

<strong>The Hattie McDaniel Award</strong>
Best Featured Actress in a Play
Ashley Joy - <em>A Raisin In The Sun</em> - Invictus Theatre Company
Celeste Williams - <em>The First Deep Breath</em> - Victory Gardens Theater

<strong>The Harry Belafonte Award</strong>
Best Actor in an Ensemble
Eric Gerard - <em>P.Y.G., or The Mis-Edumacation of Dorian Belle</em> - Jackalope Theatre Company

<strong>The Ethel Waters Award</strong>
Best Actress in an Ensemble
Ann Joseph - <em>Day Of Absence</em> - Congo Square Theatre Company

<strong>The Denzel Washington Award</strong>
Most Promising Actor
Michael Morrow - (<em>Middle Passage</em>) - Lifeline Theatre

<strong>The Phylicia Rashad Award</strong>
Most Promising Actress
Shenise Brown - (Spoken Word) - MPAACT

<strong>The Sammy Davis, Jr. Award</strong>
Best Leading Actor in a Musical
James T. Lane - <em>Mary Poppins</em> - Drury Lane Theatre

<strong>The Bill Bojangles Robinson Award</strong>
Best Featured Actor in a Musical
Melvin Abston - <em>The Color Purple</em> - Drury Lane Theatre

<strong>The Lena Horne Award</strong>
Best Leading Actress in a Musical
Makeda Grier - <em>Lady Sings The Blues The Musical</em> - John Ruffin's Theatre 47

<strong>The Eartha Kitt Award</strong>
Best Featured Actress in a Musical
Kyrie Courter - <em>The Color Purple</em> - Drury Lane Theatre

<strong>The Duke Ellington Award</strong>
Best Musical Direction
Robert Reddrick - <em>You Can't Fake The Funk A Journey Through Funk Music</em> - Black Ensemble Theater

<strong>The Katherine Dunham Award</strong>
Best Choreography in a Play or Music/Dance Program
Gary Abbott, Joshua L. Ishmon, Kevin Iega Jeff, Tshediso Kabulu, and Nicole Clarke Springer - <em>Gesem: East of The Nile from Reaffirmed/Reimagined</em> - Deeply Rooted Dance Theater

<strong>The Ruth E. Carter Award</strong>
Best Costume Design
Izumi Inaba - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Shirley Prendergast Award</strong>
Best Lighting Design
Jason Lynch - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Ed Burbridge Award</strong>
Best Set Design
Ryan Emens - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Mike Sargent Award</strong>
Best Sound Design
Jeffrey Levin - <em>Kill Move Paradise</em> - TimeLine Theatre Company

<strong>The Alvin Ailey Award</strong>
Best Choreography (Non-Resident)
Darrell Grand Moultrie - <em>Ounce Of Faith</em> - Alvin Ailey American Dance Theater

<strong>The Andre' DeShields Award</strong>
Best Actor in a Play (Non-Resident)
Mike Wiley - <em>Dar He: The Story Of Emmett Till</em> - A Mike Wiley Production

<strong>The Melba Moore Award</strong>
Best Actress in a Play (Non-Resident)
Courtnee Carter - <em>Once On This Island</em> - Broadway in Chicago

&nbsp;

<em>Photo of Kelvin Roston, Jr. and TayLar in KING HEDLEY II by Michael Brosilow.</em>"
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      string(7092) "<span style="font-weight: 400;">On October 26, Professor Tara Zahra and Marilyn F. Vitale Artistic Director Charles Newell discussed 20th century anti-Semitic laws in Central Europe and the historical structures that impacted Jewish families’ choices to stay in Austria or send their children to safety in the face of rising Fascism. Here are 10 takeaways from their conversation. </span>
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">Hermann’s aspiration for assimilation</span></li>
</ol>
<span style="font-weight: 400;">At the turn of the century, the Austro-Hungarian empire was a large, multhnic empire where, in theory, one could be both an Austrian and a Jew, One didn;t have to choose, which made many in the Jewish population very loyal to the empire. Even Hermann, the fierce convert, doesn’t deny his background or abandon his family. There was a legal structure in the empire that promised a form of equality, but there was still a glass ceiling in the social world.</span>

<span style="font-weight: 400;">2. Austro-Hungarian Empire</span>

<span style="font-weight: 400;">Not a nation-state. A state that at the federal and state level recognized the diversity and rights of diff people to be equal citizens and preserve their different languages and traditions. For example, there were ten official languages of the empire, children had the right to be educated to a certain level in their native tongue. These laws created a context where there was coexistence to an extent, but also conflict. Vienna in particular draws p from across the empire who have aspirations to be in the center and have social mobility. </span>

<span style="font-weight: 400;">3. 1918 Law</span>

<span style="font-weight: 400;">The empire breaks into separate nation-states that aspire to be ethnically homogeneous. Vienna goes from being the capital of an empire to a capital without an empire. A ruling of the Austrian Supreme Court said that if one was a German speaking Austrian Jew who was living someplace in the former empire and they were coming to Vienna as a refugee from their state, they could not be considered an Austrian because they were identified as not belonging to the German race. This was a legalized form of racial exclusion. </span>

<span style="font-weight: 400;">4. The play depicts a small segment of Viennese society.</span>

<span style="font-weight: 400;">The Merz family are manufacturers who have enough money to be in the upper echelon of society where they can have artwork commissioned and engage in intellectual discussions that suggest a high quality education and awareness of cultural developments at the time. However, there were other Jews on every rung of the social ladder, being part of not only the elite but also the working classes. There were many different social and cultural experiences, and the play gives us a slice from that world.</span>

<span style="font-weight: 400;">5. The title</span>

<span style="font-weight: 400;">The title refers to the Jewish district of Leopoldstadt, but none of the play takes place in it. It is referenced, and there is a connection between it and the character Leo.</span>

<span style="font-weight: 400;">6. Marriage</span>

<span style="font-weight: 400;">Intermarriage was a factor of religious conversion. The marriages between Jews and Catholicism represented the possibilities and limits of integration. Civil marriage was very rare where religious marriages were not. Jews could marry Catholics and convert Catholicism, which was accepted and resulted in Austria having a high rate of conversion of all the European states at the time. Conversion was also seen as a way to be further involved in high cultural life and opportunities.</span>

<span style="font-weight: 400;">7. Staying in Vienna after 1938</span>

<span style="font-weight: 400;">Most people did not leave because they could not. Access to visas was limited. As Stoppard points out in mentioning the Evian Conference, other countries would not let Jewish refugees in as they claimed they had quotas to follow. In the US, the State Department was anti-Semitic and ⅔ of the population was against letting Jewish refugee children in. For those who were reluctant to leave in Austria, it was a matter of family and money. They had their lives in Austria and people who had older family members who needed care meant that they were more inclined to stay.</span>

<span style="font-weight: 400;">8. Links to other Holocaust literature</span>

<span style="font-weight: 400;">The family portrayed in </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;"> is upper middle class, a class status that is often true of well-known Holocaust literature we have. People of this class were literate and educated, so thus more likely to somehow document their experience via writing. Middle class assimilated Jews are often featured in media that depicts the Holocaust rather than Jewish Orthodox people, the elderly, and the poor. Children are also heavily featured in Holocaust memory culture. </span>

<span style="font-weight: 400;">9. Nathan</span>

<span style="font-weight: 400;">Nathan’s character hints at the problems that survivors faced upon their return to their places of living from before. Nathan refers to living in a Displaced Persons camp at one point. These were US and British zones. The US had a Displaced Persons ACt that accepted Jews of certain backgrounds into the country, like farmers and anti-Communists. Other countries had other preferences of refugees they would let in, but everybody wanted laborers, not intellectuals. Jews faced obstacles in finding a new home, which explains the enthusiasm for Zionism in the Displaced Persons camp. Austria claimed to be the first victim of Hitler’s campaign, not an accomplice, which let it escape facing its own severe problems with Anti-Semitisim for some time. Jews were not treated as heroes or valued survivors upon their return. Some survivors wanted to talk of their experiences, but were silenced as no one would listen for a long time.</span>

<span style="font-weight: 400;">10. The size of the cast</span>

<span style="font-weight: 400;">The size of the cast is quite representative of the population it is representing. The Jewish population before WWII in Vienna was large and lively, full of unique individuals leading their own lives just as the family is. At the end of the play, only three survivors are left out of the 40 cast members, just as there were few survivors left in comparison to their numbers before, which reiterates the scale and tragedy of the Holocaust.</span>

<span style="font-weight: 400;">Tune into our next sessions of </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Deep Dive: LEOPOLDSTADT</span></a><span style="font-weight: 400;"> for our upcoming digital reading and more thought-provoking conversations!</span>"
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      string(4960) "<span style="font-weight: 400;">On October 19, Professors Leora Auslander, Christine Mehring, and David Levin provided lectures from the perspectives of memory, art, and performance to examine </span><i><span style="font-weight: 400;">Leopoldstadt</span></i><span style="font-weight: 400;">. Here are 9 key takeaways from the fascinating third session of our <a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/">Deep Dive</a> program.</span>
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">The Merz family is inspired by the family of the philosopher Ludwig Wittgenstein.</span></li>
</ol>
<span style="font-weight: 400;">Wittgenstein was a philosopher of logic, math, and language. Wittgenstein had a large extended family as well and wrote about concepts such as “family resemblance.”</span>

<span style="font-weight: 400;">2. The title is meant to draw our attention not only to the district, but also the character Leo, who resembles Stoppard.</span>

<span style="font-weight: 400;"><em>Leopoldstadt</em> is about a lost world and also acts as a claim of affiliation with it.</span>

<span style="font-weight: 400;">3. Stoppard’s life in an industrial town of Czechoslovakia was middle class</span>

<span style="font-weight: 400;">However, he portrays the upper bourgeoisie of the community, perhaps because he identifies more with the intellectualism and highly cultured character of their world.</span>

<span style="font-weight: 400;">4. Gretl’s portrait</span>

<span style="font-weight: 400;">Klimt’s work is highly symbolic in the play. At the time it is set, Klimt is a contemporary artist, with the painting still being created at the beginning of the play. He is in the middle of his rise to fame in Vienna and would eventually be a cofounder of Viennese Secession. He is known for his decorative excess in his later work with his earlier pieces being wall paintings and society portraits. The Klimt portrait has relevance at the time, but the art history it captures grows outdated.</span>

<span style="font-weight: 400;">5. Vienna Secession</span>

<span style="font-weight: 400;">The Vienna Secession was an art movement. Hermann runs a textile business. Textiles were important in the Secession as interior design became elevated as its own art. However, the Merz apartment as furnished is not a model of modernity as its decorations still carry the past into the present. </span>

<span style="font-weight: 400;">6. Photography</span>

<span style="font-weight: 400;">A photo album frequently appears in the play. Visual art features as a manifestation of cultural history. Artforms are objects of this history and become historical artifacts that linger even as people die. Grandma Emilia at the beginning recounts the shift from photography as a precious form that was not accessible to something that no longer aided memory, but drowned it as the pictures existed but the identities of who the pictures portrayed can be lost.</span>

<span style="font-weight: 400;">7. The play can be confusing.</span>

<span style="font-weight: 400;">This characteristic is due to the large cast. However, this confusion is a way to reinforce that the family is in question itself. The identity of its members is also in question, specifically the musings of “who am I and who am I in this family” with respect to the character of Leo. These questions resonate in the textual world. </span>

<span style="font-weight: 400;">8. Confrontation around name</span>

<span style="font-weight: 400;">Nathan confronts Leo asking him whether he is Leo, Leonard, or Leopold. This question brings up whose world we’re occupying (that of the Viennese-Jewish Leopold or the removed English Leonard) and remains open even in the end. Self-indictment of the autobiographical resonances of the play is also relevant in this conversation. The “self” here is in question as well—it has elements of Stoppard himself due to the autobiographical elements but also refers to the character of Leo. The playwright indicts the figure who may or may not stand in for the playwright.</span>

<span style="font-weight: 400;">9. Bossy setting?</span>

<span style="font-weight: 400;">Stoppard writes extremely detailed, specific instructions for anyone who wants to stage the piece. It is important to render the fixity it aspires to. However, due to the endless creativity of theatre, some things can be changed, such as how photo albums are presented. There is an opportunity for re imaginability within a set frame of fixity. </span>

<span style="font-weight: 400;">Want to dive deeper into Stoppard’s play? Tune into our next </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">session</span></a><span style="font-weight: 400;">!</span>"
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      string(3304) "On October 12, Dean John Boyer, the founder of the University of Chicago's Vienna Center and Vienna Study Abroad Program, provided an in-depth lecture on the history of the Habsburg Empire and the city politics of Vienna in the 20th century. Here are 8 takeaways from session 2 of our Deep Dive series, "Vienna, Austria, and the Habsburg Empire."
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">When the play opens, the chief autocrat is Emperor Franz Josef.</span></li>
</ol>
<span style="font-weight: 400;">This emperor came to define the ethos of the empire. He reigned from 1848 to 1916. His rule provided stability to the empire.</span>

<span style="font-weight: 400;">2. High Austria aristocracy was influential.</span>

<span style="font-weight: 400;">They consisted of wealthy, large families who owned huge chunks of land around Austria. The aristocracy is a critical component of the culture of Vienna.</span>

<span style="font-weight: 400;">3. Vienna as the site of a vibrant Jewish community</span>

<span style="font-weight: 400;">After the Revolution of 1848, due to migration from places like Bohemia and Hungary, the Jewish population increased. In 1910, near 90% of the civilian population of Vienna was Jewish. </span><span style="font-weight: 400;">After 1945, the Jewish and aristocratic communities were fundamentally altered from the war, a change that still affects the fabric of the region today.</span>

<span style="font-weight: 400;">4. Second district of Vienna across the canal is called Leopoldstadt.</span>

<span style="font-weight: 400;">It is where the play gets its title. Leopoldstadt is also near the Ringstrasse, an important cultural boulevard.</span>

<span style="font-weight: 400;"> 5. In 1899, there were several political movements in Austria.</span>

<span style="font-weight: 400;">The Christian Social Party emerges in Vienna with support from rural areas of Austria; it still exists today as the People’s Party. The liberal bourgeois movement was also an integral player in politics.</span>

<span style="font-weight: 400;">6. In 1934, the Austrian Civil War occurred for four days.</span>

<span style="font-weight: 400;">The ramifications of this division are still felt today.</span>

<span style="font-weight: 400;">7. The German occupation of Austria occurred between 1938 and 1945.</span>

<span style="font-weight: 400;">Eyewitness accounts from the time describe the terrible quality of life during this period. There was a significant loss of faith in the governmental institutions and a system of law.</span>

<span style="font-weight: 400;">8. In 1955, a treaty was signed that granted full territorial independence to Austria.</span>

<span style="font-weight: 400;">Occupying forces withdrew from Austria and the country had sovereignty restored for the first time since the Anschluss in 1938, when Austria was annexed into Nazi Germany.</span>

<span style="font-weight: 400;">To find out more about the rich history behind Stoppard’s new play, tune into our next </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Deep Dive</span></a><span style="font-weight: 400;"> session!</span>"
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      string(2619) "On October 5, Marilyn F. Vitale Artistic Director Charles Newell provided a riveting overview of Tom Stoppard's most recent play. Here are 5 takeaways from Session 1 of our Deep Dive series, "An Introduction to the World of <em>Leopoldstadt</em>."
<ol>
 	<li><span style="font-weight: 400;">There’s a lot going on, but don’t get overwhelmed.</span></li>
</ol>
<span style="font-weight: 400;">The character cast is monumental by itself, but we put together a family tree to help you out! You can access the materials in your digital program.</span>

<span style="font-weight: 400;">2. Since there is so much going on, we recommend you read the play yourself first.</span>

<span style="font-weight: 400;">While it’s not necessary, we strongly encourage our audiences to read the play before they embark on this in-depth intellectual journey our programs provide. You can purchase it at the </span><a href="https://www.semcoop.com/court-theatre"><span style="font-weight: 400;">Seminary Co-op</span></a><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">3. It’s not autobiographical, but it has biographical elements.</span>

<span style="font-weight: 400;">Stoppard was inspired to write the essay after learning of his own Jewish roots. The characters are not real, but the historical events and documents mentioned are. However, there IS an autobiography now available about Tom Stoppard by </span><a href="http://www.hermionelee.com/stoppard.html"><span style="font-weight: 400;">Hermione Lee</span></a><span style="font-weight: 400;">! </span>

<span style="font-weight: 400;">4. The part where Leo gets stitches is inspired by a real event.</span>

<span style="font-weight: 400;">Stoppard met a patient of his biological father’s years later. His father stitched a wound for a young woman, and she showed him the scar when they met. The experience was deeply touching for Stoppard, who has nothing left of his father, and the mark was a last vestige of his father’s existence. The character Leo and Stoppard do share some parallels, as all writers embed bits of themselves in their work.</span>

<span style="font-weight: 400;">5. Every little thing matters.</span>

<span style="font-weight: 400;">There is a lot of deeper content than you may think at first read. Every detail is significant. </span><a href="https://www.courttheatre.org/season-tickets/2020-2021-season/deep-dive-tom-stoppards-leopoldstadt/"><span style="font-weight: 400;">Tune into</span></a><span style="font-weight: 400;"> our next sessions to dive deeper into Stoppard’s play!</span>"
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      string(3163) "On October 14, Dr. Sarah Nooter and Dr. Clifford Ando held a conversation about the afterlife of <em>The Bacchae</em> in the form of adaptation. The scholars focused in on two key adaptations to delve into a deeper discussion of the thematic issues in all three texts. Read on for 5 takeaways from our second session in our Theatre &amp; Thought BACCHAE Series, "Identity, History, and Change."
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">It has a relationship with the </span><i><span style="font-weight: 400;">Gospel of John</span></i><span style="font-weight: 400;">.</span></li>
</ol>
<span style="font-weight: 400;">The <em>Gospel of John</em> and <em>The Bacchae</em> don’t have a direct line of influence, but they are both texts about gods arriving in a community. They narrate the stories in similar ways, thematizing similar issues like the problems of arrival and recognition. They both have a prologue where the audience knows the truth, the believers state their devotion, there is conflict between believers and nonbelievers. In both, ethical challenges are posed to the community.</span>

<span style="font-weight: 400;">2. Jesus and Dionysus Comparison</span>

<span style="font-weight: 400;">Many people throughout the years have made parallels between these figures as neither is recognized by his own people at first.</span>

<span style="font-weight: 400;">3. It also influenced Wole Soyinka’s 1973 </span><i><span style="font-weight: 400;">The Bacchae of Euripides: A Communion Rite</span></i><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">This <em>Bacchae</em> was first performed in London. It is about convergence of traditions. However, the adaptation holds many differences. In it, there are two Choruses, comparisons between Dionysus and the Yoruba god Ogun, and the recognition of slaves as sacrifices by the cruel Pentheus to the gods. The slave Chorus is alongside Euripides’ Chorus; they eventually work together while maintaining their separate identities.</span>

<span style="font-weight: 400;">4. Soyinka uses a scene from the </span><i><span style="font-weight: 400;">Gospel of John</span></i><span style="font-weight: 400;">.</span>

<span style="font-weight: 400;">Water being turned into wine, as wine is a central symbol in Soyinka’s version. The ending of this adaptation is one of peace and tranquility after the cruel leader Pentheus is vanquished, a sign of positivity for the community rather than punishment as in Euripides’ text.</span>

<span style="font-weight: 400;">5. New life and new meaning can be given to scholarly traditions.</span>

<span style="font-weight: 400;">Adaptation is an act of reinterpretation and rejuvenating old texts to make sure their relevance continues on in modern culture. There are numerous other adaptations of </span><i>The Bacchae</i>, like Charles Mee’s, that bring out different levels of meanings as well. To view one interpretative performance, tune into <a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/">our virtual reading</a>!"
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      string(4097) "On October 7, Dr. Sarah Nooter and Dr. Christopher Faraone discussed the background and motifs of <em>The Bacchae</em>. Read on for 8 takeaways from our first session of <em>The Bacchae</em> in our Theatre &amp; Thought series, "Euripides' <em>Bacchae</em>: Sight and Blindness; Self and Other."
<ol>
 	<li style="font-weight: 400;"><span style="font-weight: 400;">In 405 BCE, </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;"> premiered in Athens. It was written near the end of Euripides’ life while he lived in Macedonia.</span></li>
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<span style="font-weight: 400;">It came at the end of a long century of Greek tragedy. As such, the work acts as a reflection on the entire tradition up until that point.</span>

<span style="font-weight: 400;">2. The play has religious connections.</span>

<span style="font-weight: 400;">Plays were performed in venues and events in honor of Dionysus, the patron god of theatre, wine, and nature. Dionysus was worshipped in every Greek city, but was never a primary god in the sense that Athens was devoted to Athena. Dionysus was worshipped both by men and women, distinct in a time when women worshipped female gods and men worshipped male gods.</span>

<span style="font-weight: 400;">3. Dionysus experiences human suffering.</span>

<span style="font-weight: 400;">Most of his myths are about him being captured, chased away, and feeling fear of death. This suffering made him closer to the human experience. He is a vengeful, powerful god in </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;">, but it is important to remember that he has suffered as well.</span>

<span style="font-weight: 400;">4. There are voluntary and coerced worshippers of Dionysus in the play.</span>

<span style="font-weight: 400;">There are two groups of women who are Bacchants, but have different relationships with Dionysus. The Chorus are voluntary worshippers of Dionysus and follow him everywhere. They do similar things as Theban Bacchans do, like running in nature and dancing, but the Theban women are not voluntary worshippers of Dionysus. They’re being punished in a fervent, twisted form of Bacchic religion after rejecting Dionysus’ godhood.</span>

<span style="font-weight: 400;">5. Mystery rites</span>

<span style="font-weight: 400;">We don’t know a lot about the mystery rites of Dionysus, but they most likely involved drinking. A mystery rite is about learning and experiencing something in a spiritual, religious ritual to help prepare the individual on how to react when they die and go to the Underworld.</span>

<span style="font-weight: 400;">6. Dionysus lusis</span>

<span style="font-weight: 400;">He loosens the daily cares and worries that drag the human spirit. During the ritual, the worshippers feel ecstasy and a loosening from their problems, something that can also bring destruction.</span>

<span style="font-weight: 400;">7. Scholarly interpretations are divided.</span>

<span style="font-weight: 400;">Some read the play and view Dionysus’ actions as justified while others comment that it is perhaps Euripides' way to critique religion and the cruelty of gods. </span>

<span style="font-weight: 400;">8. A political view</span>

<span style="font-weight: 400;">Dionysus is half-brother to mortal Pentheus; they are both sons of Thebes. Some view Dionysus as having political motivations to come back and kill Pentheus so he can be human king of Thebes. His viciousness is part of his human nature. </span>

<span style="font-weight: 400;">What do you think about these scholarly insights? Form your own interpretations by engaging with our  </span><a href="https://www.courttheatre.org/about/blog/theatre-thought-euripides-the-bacchae-contemporary-adaptation/"><span style="font-weight: 400;">Theatre &amp; Thought series</span></a><span style="font-weight: 400;"> for Euripides’ </span><i><span style="font-weight: 400;">The Bacchae</span></i><span style="font-weight: 400;">.</span>"
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-session-6-of-deep-dive-leopoldstadt/">5 Key Takeaways from Session 6 of DEEP DIVE: LEOPOLDSTADT</a></h3>
        <p>A quick recap of the sessions in our Deep Dive series.</p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/theatre-thought-caryl-churchills-fen-the-dramaturgical-process/">Theatre &#038; Thought: Caryl Churchill&#8217;s FEN + The Dramaturgical Process</a></h3>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/court-theatres-production-of-king-hedley-ii-wins-3-jeff-awards/">Court Theatre&#8217;s Production of KING HEDLEY II Wins 3 Jeff Awards</a></h3>
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        <p>A quick recap of the sessions in our Deep Dive series.</p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/9-key-takeaways-from-session-3-of-deep-dive-leopoldstadt/">9 Key Takeaways from Session 3 of Deep Dive: LEOPOLDSTADT</a></h3>
        <p>Want a quick recap of the sessions in our Deep Dive Series? Search no further!</p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/8-key-takeaways-from-deep-dive-leopoldstadt-session-2/">8 Key Takeaways from Deep Dive: LEOPOLDSTADT, Session 2</a></h3>
        <p>Want a quick recap of the sessions in our Deep Dive series? Search no further!</p>
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      <a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-deep-dive-leopoldstadt-session-1/"><img class="blog-teaser__img" src="https://www.courttheatre.org/wp-content/uploads/2020/09/leosq_200.jpg" alt="" /></a>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-deep-dive-leopoldstadt-session-1/">5 Key Takeaways from Deep Dive: LEOPOLDSTADT, Session 1</a></h3>
        <p>Want a quick recap of the sessions in our Deep Dive series? Search no further!</p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/5-key-takeaways-from-session-2-of-euripides-the-bacchae/">5 Key Takeaways from Session 2 of Euripides&#8217; THE BACCHAE</a></h3>
        <p>Want a quick recap of the sessions in our Theatre & Thought Series? Search no further!</p>
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        <h3 class="title"><a href="https://www.courttheatre.org/about/blog/8-key-takeaways-from-euripides-the-bacchae-session-1/">8 Key Takeaways from Euripides&#8217; THE BACCHAE, Session 1</a></h3>
        <p>Want a quick recap of the sessions in our Theatre & Thought Series? Search no further!</p>
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