Handan Ozbilgin, Florian Malzacher and More Join SEGAL TALKS Week 22

The Martin E. Segal Theatre Center has announced the new line-up of its new global series, SEGAL TALKS. Since the beginning of March the series featured close to 100 talks with 150 artists from 50 countries. New York, US, and international theatre artists, curators, researchers, and academics will talk daily during the week for one hour with Segal Center's director, Frank Hentschker, about life and art in the Time of Corona and speak about challenges, sorrows, and hopes for the new Weltzustand- the State of the World. After a break in August the series will now also focus on Theatre, Performance and The Political, highlighting the Segal Center's 2022 New York International Festival of the Arts Project and the Center's Public Park Project. The Segal Center is the only theatre institution in NYC and the US creating new, original, daily content for the global field of theater and performance. The series was conceived, created and curated by Frank Hentschker in March 2020.

SEGAL TALKS are free, open access, without ads will be live-streamed in English from Monday to Friday on HowlRound Theatre Commons and on the Segal Center Facebook. This program is presented in collaboration with HowlRound Theatre Commons, based at Emerson College. All SEGAL TALKS are archived on HowlRound, and on the Segal Center YouTube Channel.

The work of the Segal Center has been supported in the past by Susan and Jack Rudin(†), the Hearst Foundation and currently by, Marvin Carlson, Sidney E. Cohn Chair, The Graduate Center CUNY.

SEGAL TALKS WEEK 22 SCHEDULE

WEDNESDAY, OCTOBER 14, 2020

12 noon EDT

Handan Ozbilgin

Join us for a conversation about curating, producing and presenting theatre and performance in the Time of Corona and the upcoming MENA Festival

Born and raised in Ankara /Turkey, Handan Ozbilgin is a NYC-based Independent Theater Director/Producer and the Associate Artistic Director of LaGuardia Performing Arts Center (LPAC) at LaGuardia Community College (LAGCC).

Handan's field contributions include serving as an Affiliated Artist with the Lark Play Development Center as well as New Georges. Handan is also a member of Lincoln Center's Directors Lab, Theatre Without Borders, Atelier for Young Managers and was part of the Emerging Leadership Institute (ELI) class of 2016. In 2019 Handan received TCG's "On the Road" grant . Most recently she co- founded Identity Crisis Theater Company which features English translations of works from Turkey, Balkans, Middle East and the Mediterranean.

THURSDAY, OCTOBER 15, 2020

12 noon EDT

Florian Malzacher

Join us for a conversation on his newest book Gesellschaftsspiele. Politisches Theater heute an exploration of games and political theatre.

Florian Malzacher is an independent performing arts curator, dramaturge and writer. 2013 - 2017 he was artistic director of Impulse Theater Festival (Germany), 2006 - 2012 co-programmer of steirischer herbst festival (Austria). He (co-)curated numerous events like the 170 hours marathon camp "Truth is concrete" on artistic strategies in politics (2012). He (co)edited books on the theatre companies Forced Entertainment, Rimini Protokoll, and Nature Theater of Oklahoma. Among his publications are Looking for the Political Theatre of Today (2015), Empty Stages, Crowded Flats. Performativity as Curatorial Strategy (2017), and "Gesellschaftsspiele. Politisches Theater heute" (2020).

FRIDAY, OCTOBER 16, 2020

12 noon EDT

Kaatje De Geest, Carmen Hornbostel & Milo Rau

Join us for a conversation on Why Theatre? A look at 100 theatre practitioners' voices about the state of performing arts in 2020

Kaatje De Geest has a Master's degree in Art History, Theatre Studies & Musicology from Ghent University (Belgium), and has studied Nordic literature & languages at Uppsala University (Sweden). Previously, she has been involved with the international children's theatre association ASSITEJ, and has worked at different performing arts festivals in Scandinavia and Germany, as well as translating articles and essays from several languages. Since March 2020, she is assistant artistic director at NTGent, and co-editor of the "Golden Book" Why Theatre, together with Milo Rau & Carmen Hornbostel.

Carmen Hornbostel, born in 1991 near Hamburg, studied psychology at the Georg-August-University of Göttingen and at the University of Seville. Since the season 2018/19 she is a dramaturge at NTGent and since 2017 dramaturge at the International Institute of Political Murder (IIPM). After her studies she worked i.a. in the dramaturgy/editing of the Theatertreffen Berlin 2017, as dramaturgical collaborator on Milo Rau's General Assembly(Schaubühne am Lehniner Platz in Berlin, 2017) and La Reprise (Théâtre National Wallonie-Bruxelles, 2018), realised the Box of Truth (NTGent, 2018) and was dramaturg for Milo Rau's plays Family (NTGent, 2019) and Everywoman (Salzburger Festspiele, 2020).

Trained by the socially engaged sociologist Pierre Bourdieu and the historian of ideas Tzvetan Todorov and deeply concerned about issues of violence and justice, Milo Rau recreates onstage acts of aggression and oppression so that the spectator becomes a witness and grabs hold of reality. In 2007 he founded the International Institute of Political Murder in order to produce and present his shows, such as The Last Hours of Elena and Nicolae Ceausescu (2009), his 2011 piece Hate Radio (Radio des Mille Collines during the Rwandan genocide, presented at the FTA in 2014), Breivik's Statement in 2012 (the Norwegian mass murderer), The Moscow Trials in 2013 (the trial and sentencing of Pussy Riot, which led to Rau being denied an entry permit for Russia), The Congo Tribunal (2015) and Five Easy Pieces in 2016 (a show about the pedophile Marc Dutroux, performed by children and adolescents). In 2018 he was named artistic director of NTGent, the leading theatre in Ghent, Belgium and for the occasion published his Ghent Manifesto. The first of its "rules" stipulates: "It's not just about portraying the world anymore. It's about changing it. The aim is not to depict the real, but to make the representation itself real."