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GUEST THURSDAY JULY 22, 2010

                                    GUEST

                                       (Originally aired: 01-14-10)

                                      JUDITH MALINA

                  

                

              

                

                         Theater & Film Actor, Writer & Director

                     

                        

          

                    Co-Founder: The Living Theatre

                                Currently

                        THE LIVING THEATRE

                                    proudly presents

                                  Based on the writings of Anne Waldman

                     Adapted & Directed by Judith Malia

                          December 7- January 30, 2009

                              Wednesdays-Saturdays at 8pm

                                         THE LIVING THEATRE

                                                             21 Clinton St

                                                 New York, New York 10002

                                          For reservations call: 212-352-3101

                                             www.livingtheatre.org

                                               birdsy18@gmail.com

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The program can be viewed in its entirety by clicking the you tube link below:

http://www.youtube.com/watch?v=R_TuI7LNYrA - JUDITH MALINA

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More about: JUDITH MALINA AND THE LIVING THEATRE

 

JUDITH MAILINA

 

 

From Wikipedia, the free encyclopedia

 
 
Judith Malina

Judith Malina; photo by Charles Rotmil
Born June 4, 1926 (1926-06-04) (age 83)
Kiel, Germany
Occupation Actress, Director, Writer
Spouse(s) Julian Beck, Hanon Reznikov

Judith Malina (born June 4, 1926) is an American theater and film actor, writer, and director, who is one of the founders

and leaders of The Living Theatre.

Contents

[hide]

Early life

Malina was born in Kiel, Germany, the daughter of an aspiring actress mother and a rabbi father.[1][2] In 1929, she moved

with her parents to New York City, where, except for long tours, she has lived ever since. Interested in acting from an early

age, she began attending the New School for Social Research in 1945 to study theatre under Erwin Piscator. Malina was

greatly influenced by Piscator's philosophy of theatre, which was based on Bertolt Brecht's principles of "epic theatre"

but went further than Brecht in departing from traditional narrative forms, and which saw theatre as a form of political

communication or agitprop—though Malina, unlike Piscator, was committed to nonviolence and anarchism.

Career & marriage

Malina met her long-time collaborator and husband, Julian Beck, when she was 17. Beck, originally a painter, came to

share her interest in political theatre, and in 1947 the two founded The Living Theatre, which they directed together until

Beck's death in 1985. Malina's and Beck's marriage was as unconventional as their work: Beck was bisexual and had a

male partner, and Malina was involved with a series of men. The couple had two children—a son, Garrick, and a daughter,

Isha.

In 1963 the theatre was closed after IRS accusations (later proved false) of tax problems, and Malina and Beck were

convicted of contempt of court. They received a five-year suspended sentence, and decided to leave the U.S. The company

spent the next five years touring in Europe and creating increasingly radical works, culminating in Paradise Now, which

they returned to the U.S. to present in 1968. Malina's book The Enormous Despair (1972), part of her series of diaries,

records the sense of danger and unfamiliarity she felt on returning to the U.S. in the midst of the social upheavals of the

late 1960s.

In 1969 the company decided to divide into three groups. One worked on the pop scene in London, another went to India

to study traditional Indian theatre arts, and the third, including Malina and Beck, traveled in 1971 to Brazil, where they

were imprisoned on political charges for two months by the military government. After Beck's death from cancer, company

member Hanon Reznikov, who had become Malina's lover (they married in 1988), assumed co-leadership of the company,

which opened its own theater in 2007 at 21 Clinton Street in Manhattan. In April 2008 Reznikov suffered a stroke, and

while hospitalized he died of pneumonia on May 3 at the age of 57.

Malina's occasional film career began in 1975, when she played Al Pacino's mother in Dog Day Afternoon and later briefly

appeared in Pacino's Looking for Richard. She played Grandma Addams in The Addams Family (1991), and had major roles

in Household Saints (1993) and in the low-budget production Nothing Really Happens (2003). She appeared in an episode

of The Sopranos in 2006.

On September 22, 2008, Olympia Dukakis presented Malina with the 2008 Artistic Achievement Award from the New York

Innovative Theatre Awards. This honor was bestowed on Malina on behalf of her peers and fellow artists of the

 Off-Off-Broadway community "in recognition of her unabashed pioneering spirit and unyielding dedication to her craft

and the Off-Off-Broadway community".

On March 25, 2009, Malina received the Edwin Booth Award from the Doctoral Theatre Students Association of the City

University of New York.

Other awards include an honorary doctorate from Lehman College, the Lola d’Annunzio award (1959); Page One Award

(1960); Obie Award (1960, 1964, 1969, 1975, 1987, 1989, and 2007); Creative Arts Citation, Brandeis University (1961);

Grand Prix du Théâtre des Nations (1961); Paris Critics Circle medallion (1961); Prix de L’Université de Paris (1961);

New England Theater Conference Award (1962); Olympio Prize (1967); and a Guggenheim fellowship (1985).

On December 7, 2009 at The Living Theatre, Anne Waldman's play Red Noir, directed by Judith Malina, began previews,

with an opening date of December 10, to run through January 30, 2010.[3]

Credits

  • Entretiens avec le Living Théâtre (with Julian Beck and Jean-Jaques Lebel) (1969)
  • We, The Living Theatre (with Julian Beck and Aldo Lastagmo) (1970)
  • Paradise Now (with Julian Beck) (1971)
  • The Enormous Despair, Diaries 1968-89 (New York: Random House, 1972)
  • Le Legs de Cain: trois projets pilotes (with Julian Beck) (1972)
  • Frankenstein (Venice Version) (with Julian Beck) (1972)
  • Sette meditazioni sul sadomachismo politico (with Julian Beck) (1977)
  • Living Heist Leben Theater (with Imke Buchholz) (1978)
  • Diary excerpts Brazil 1970, Diary of Bologna 1977 (1979)
  • Poems of a Wandering Jewess (Paris: Handshake Editions, 1982)
  • The Diaries of Judith Malina: 1947-1957 (New York: Grove Press, 1984)

References

  1. ^ http://select.nytimes.com/gst/abstract.html?res=F10B17F7345B14728FDDAA0994D8415B888AF1D3
  2. ^ Fliotsos, Anne; Wendy Vierow (2008). American Women Stage Directors of the Twentieth Century. University of
  3. Illinois Press. pp. 258. ISBN 0252032268. 
  4. ^ Webster, Andy (2009-12-25). "A Sleuth With a Chorus at the Ready". Theater (New York Times). http://theater.nytimes.com/2009/12/25/theater/reviews/25rednoir.html. Retrieved 2009-12-27. 

 External links

 

 

 

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Perhaps the test of a person’s influence is the extent to which his or her ideas continue to inspire...more

Julian Beck

La vita del teatro
di Julian Beck

HISTORY

Founded in 1947 as an imaginative alternative to the commercial theater by Judith Malina, the German-born student of Erwin Piscator, and Julian Beck, an abstract expressionist painter of the New York School, The Living Theatre has staged nearly a hundred productions performed in eight languages in 28 countries on five continents - a unique body of work that has influenced theater the world over.

During the 1950's and early 1960's in New York, The Living Theatre pioneered the unconventional staging of poetic drama - the plays of American writers like Gertrude Stein, William Carlos Williams, Paul Goodman, Kenneth Rexroth and John Ashbery, as well as European writers rarely produced in America, including Cocteau, Lorca, Brecht and Pirandello. Best remembered among these productions, which marked the start of the Off-Broadway movement, were Doctor Faustus Lights the Lights, Tonight We Improvise, Many Loves, The Connection and The Brig.

The difficulty of operating a unique, experimental enterprise within a cultural establishment ill-equipped to accept it led to the closing by the authorities of all The Living Theatre's New York venues: the Cherry Lane Theater (closed by the Fire Department in 1953), The Living Theatre Studio on Broadway at 100th Street (closed by the Buildings Department in 1956), The Living Theatre on 14th Street (closed by the I.R.S. in 1963) and The Living Theatre on Third Street (closed by the Buildings Department in 1993).

In the mid-1960's, the company began a new life as a nomadic touring ensemble. In Europe, they evolved into a collective, living and working together toward the creation of a new form of nonfictional acting based on the actor's political and physical commitment to using the theater as a medium for furthering social change. The landmark achievements of this period include Mysteries and Smaller Pieces, Antigone, Frankenstein and Paradise Now.

In the 1970's, The Living Theatre began to create The Legacy of Cain, a cycle of plays for non-traditional venues. From the prisons of Brazil to the gates of the Pittsburgh steel mills, and from the slums of Palermo to the schools of New York City, the company offered these plays, which include Six Public Acts, The Money Tower, Seven Meditations on Political Sado-Masochism, Turning the Earth and the Strike Support Oratorium free of charge to the broadest of all possible audiences.

The 1980's saw the group return to the theater, where they developed new participatory techniques that enable the audience to first rehearse with the company and then join them on stage as fellow performers. These plays include Prometheus at the Winter Palace, The Yellow Methuselah and The Archaeology of Sleep.

Following the death of Julian Beck in 1985, cofounder Judith Malina and the company’s new director, veteran Hanon Reznikov, who first encountered The Living Theatre while a student at Yale in 1968, opened a new performing space in Manhattan’s Lower East Side, producing a steady stream of innovative works including The Tablets, I and I, The Body of God, Humanity, Rules of Civility, Waste, Echoes of Justice, and The Zero Method. After the closing of the Third Street space in 1993, the company went on to create Anarchia, Utopia and Capital Changes in other New York City venues.

In 1999, with funds from the European Union, they renovated a 1650 Palazzo Spinola in Rocchetta Ligure, Italy and reopened it as the Centro Living Europa, a residence and working space for the company’s European programs. There they created Resistenza, a dramatization of the local inhabitants’ historical resistance to the German occupation of 1943-45. In recent years, the company has also been performing Resist Now!, a play for anti-globalization demonstrations both in Europe and the U.S. A month-long collaboration with local theater artists in Lebanon in 2001 resulted in the creation of a site-specific play about the abuse of political detainees in the notorious former prison at Khiam.

The Living has opened a new theatre at 21 Clinton Street, presenting The Brig. They continue also to present NO SIR!, a play for the street against military recruitment.

The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The decision to return to the Lower East Side (at 19-21 Clinton Street, between Houston and Stanton Streets) reflects the company's continuing faith in the neighborhood as a vibrant center where the needs of some of the city's poorer people confront the ideas of the experimenters in art and politics who have settled in the area.

The presence of newly arrived upscale shops and venues only underlines the political contradictions which bristle through the crowded, narrow streets.

Plans are developing for a repertory program as well as musical, dance, poetry and political events. Watch for coming announcements of the projects due to flower at the our new home. We look forward to seeing you there.

 

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Guest For THURSDAY JULY 22, 2010

Individual programs can be viewed each week day

(11:00 AM - NOON / (NYC Time)

Channel 34 of the Time/Warner, Channel 83 of the RCN, & Channel 33 of the VerizonFiOS
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The Program can now also be viewed on the internet at time of cable casting at

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NOTE: You must adjust viewing to reflect NYC time

& click on channel 34 at site

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