Date:
Friday, January 12, 2007.
3:15 PM.<BR/>
Location: Pigott Theater, Memorial Auditorium
http://campus-map.stanford.edu/index.cfm?ID=08-300<BR/><BR/>
<p>Renaissance Play(ge)</p>
<p>By Kevin DiPirro</p>
<p>Directed by Michael Hunter</p>
<p>A staged reading as part of the First Fridays New Play Series at Stanford.</p>
<p>The climate has changed, plague is rampant; will a pregnant couple survive their first few married years in post-Bush America?</p>
<p>In Renaissance Play(ge), a young married couple becomes pregnant in a time of climate change and plague. Time-traveling between post-Bush America, Turn-of-the Century San Francisco, and Renaissance Florence—three different historical plague periods—the play uses commedia techniques to track the family's fluctuating paralysis and hope against the backdrop of spiking ideological reductionism and its emotional fallout.</p>
<p>Renaissance Play(ge) was named a finalist for the Magic Theatre's Alfred P. Sloan Grant. It has had numerous on-campus readings, both private and public, with participants drawn from advanced graduate students and faculty at Stanford, and from faculty at Brown University.</p>
<p>Kevin DiPirro is a playwright and teaches writing at Stanford. His plays, which include Through Shite to Shannon, Mobl'd Queens's Good, Big Fun, and An Ache in the Engine, have been produced at The Mixed Blood Theatre in Minneapolis, Henry St. Settlement in New York City, and the Eureka Theatre and Shelton Actors Theatre in San Francisco. He will be organizing and directing a week from Suzan-Lori Parks' 365 Days/365 Plays on campus in the spring. DiPirro teaches the Playwriting introductory seminar and Family Dramas.</p>
<p>Michael Hunter is a director and PhD candidate in drama. He graduated with an MA in English Literature from Edinburgh University, Scotland, and currently lives in San Francisco. His dissertation, “Bodies at Work in Bodies of Work,” looks at the work of Ronald Firbank and Antonin Artaud from the perspective of their relationships to their problematic physical bodies. It attempts to find new ways to talk about the meeting points between physical (bodily) forms and aesthetic forms. He is also currently working on an ongoing exploratory production of Jean Genet's The Maids.</p><BR/>
Friday, January 12, 2007.
3:15 PM.<BR/>
Location: Pigott Theater, Memorial Auditorium
http://campus-map.stanford.edu/index.cfm?ID=08-300<BR/><BR/>
<p>Renaissance Play(ge)</p>
<p>By Kevin DiPirro</p>
<p>Directed by Michael Hunter</p>
<p>A staged reading as part of the First Fridays New Play Series at Stanford.</p>
<p>The climate has changed, plague is rampant; will a pregnant couple survive their first few married years in post-Bush America?</p>
<p>In Renaissance Play(ge), a young married couple becomes pregnant in a time of climate change and plague. Time-traveling between post-Bush America, Turn-of-the Century San Francisco, and Renaissance Florence—three different historical plague periods—the play uses commedia techniques to track the family's fluctuating paralysis and hope against the backdrop of spiking ideological reductionism and its emotional fallout.</p>
<p>Renaissance Play(ge) was named a finalist for the Magic Theatre's Alfred P. Sloan Grant. It has had numerous on-campus readings, both private and public, with participants drawn from advanced graduate students and faculty at Stanford, and from faculty at Brown University.</p>
<p>Kevin DiPirro is a playwright and teaches writing at Stanford. His plays, which include Through Shite to Shannon, Mobl'd Queens's Good, Big Fun, and An Ache in the Engine, have been produced at The Mixed Blood Theatre in Minneapolis, Henry St. Settlement in New York City, and the Eureka Theatre and Shelton Actors Theatre in San Francisco. He will be organizing and directing a week from Suzan-Lori Parks' 365 Days/365 Plays on campus in the spring. DiPirro teaches the Playwriting introductory seminar and Family Dramas.</p>
<p>Michael Hunter is a director and PhD candidate in drama. He graduated with an MA in English Literature from Edinburgh University, Scotland, and currently lives in San Francisco. His dissertation, “Bodies at Work in Bodies of Work,” looks at the work of Ronald Firbank and Antonin Artaud from the perspective of their relationships to their problematic physical bodies. It attempts to find new ways to talk about the meeting points between physical (bodily) forms and aesthetic forms. He is also currently working on an ongoing exploratory production of Jean Genet's The Maids.</p><BR/>