|
| |
|
| |
|
||
|
|
|
|
|
|
|
|
|
||||
|
 |
Resource ListScripts and Scores
Pregones Theater specializes in stage adaptations of literary and nonliterary sources. Original titles result from collective and individual dramaturgy efforts. When working from pre-existing stage scripts, significant edits and/or alterations are common. Pregones Theater works with its own musicians and creates its own original music. Over the years, the ensemble has developed a hybrid musical style mixing popular and classical elements. Full scores are archived along with each production script. Song lyrics are also transcribed and archived separately. The scripts and scores listed below are, for the most part, working drafts and personal annotated copies. Recent titles also exist in electronic format. Although there is no formal mechanism for the collection of supplementary materials, ensemble members say that production notebooks and other informal records are treasured and not hard to produce upon request. Title (Author) Year "La colección" (based on "100 years of Puerto Rican literature") 1979 "The World of Muddy Waters" (Eduardo Gallardo) 1979 "El circo" (Pregones Ensemble) 1981 "Areyto de pescadores" (Eduardo Gallardo) 1982 "High Noon/Al Mediodía" (Dolores Prida) 1983 "La ofrenda" (based on poems by J.A. Corretjer) 1984 "People Again" (based on a story by José Luis González) 1984 "El antillano" (based on the historic correspondence of Ramón Emeterio Betances) 1985 "Pepe Coquí" (Pregones Ensemble) 1985 "Tiempo muerto" (Manuel Méndez Ballester) 1985 "Cantata a Lares" (based on historic, literary and popular records of the 1868 uprising) 1986 "La caravana" (Alvan Colón Lespier) 1986 "Migrants!" (based on historic, literary and popular records of the Puerto Rican diaspora) 1986 "The Mugger" (Eduardo Gallardo) 1986 "Remote Control" (Rosalba Rolón with Pregones Theater) 1987 "The Embrace" (Pregones Ensemble) 1988 "Love Letters to the Land" (based on Nicaraguan and Salvadorean women’s testimony) 1988 "One Pound of Milk" (based on Nicaraguan women’s and children’s testimony) 1988 "Voces de acero/Voices of Steel" (based on Puerto Rican political prisoners’ testimony) 1989 "Imágenes de un padre" (based on interviews with Laura Albizu Menezes) 1990 "Baile cangrejero" (based on poems by Guillén, Vizcarrondo, Cruz, Palés, Cabral, Burgos) 1991 "Tangalatín" (based on poems by Palés, Vizcarrondo, Santa Cruz) 1991 "El último rosario de Medea" (José Manuel Torres Santiago) 1991 "The Wedding March" (based on the story by Judith Ortiz Cofer) 1991 "El Apagón/The Blackout" (based on a story by José Luis González) 1992 "La noche que volvimos a ser gente" (based on the story by José Luis González) 1992 "Quíntuples" (Luis Rafael Sánchez) 1993 "Fábulas del Caribe" (based on the works of Sebastián Robiou Lamarche) 1994 "For Love" (Cándido Tirado) 1994 "Translated Woman" (based on the book by Ruth Behar) 1995 "Translated Woman" (revised) 1998 "Monkey’s Tail and other tales" (based on stories by Pura Belpré and Miguel Barnés) 1996 "La otra orilla" (Eusebio Calonge) 1996 "El bolero fue mi ruina" (based on a story by Manuel Ramos Otero) 1997 "San Miguel, amarra tu perro" (based on historic, literary and popular records of 1998 Puerto Rican Independence and Nationalist movements) "Promise of a Love Song" (collaboration with Roadside Theater, Junebug Productions) 1999 "En Tres Actos" (one-acts by Janis Astor del Valle and Tere Martínez) 2000 "Fables of the Caribbean" (based on the works of Sebastián Robiou Lamarche) 2000 "Music & Fables" (collaboration with Roadside Theater and Junebug Productions) 2000 "Los ángeles se han fatigado" (Luis Rafael Sánchez) 2001 "The Ballad of María Sabida" (based on a story by Judith Ortiz Cofer) 2001 "Gení y el Zepelín" (José Luis Ramos Escobar) 2001 Library Pregones Theater houses a small, eclectic, largely Spanish-language library devoted to the performing arts. For students and lay readers with research knowledge of Spanish, the 300-volume collection offers an excellent introduction to Latin American/Latino theater. Holdings include out-of-print and hard-to-find books and short publications on theory, criticism, methodology and history; individual plays and play collections; industry reports and publications (of exceptional merit in the case of Hispanic theater in the U.S.); and important journals such as Revista Conjunto (Cuba) and Ollantay (N.Y.). Periodical holdings are not continuous. Selected company publications:
Selected scholarly works about Pregones Theater:
Photos and Printed Ephemera Assorted photographic documentation includes company rehearsals, touring engagements, performances, relocations, audience/community activities, and production stills. Printed ephemera (assorted press clips, announcements, fliers, post cards, programs) offer a valuable, alternate record of Latino theater activity in New York. These materials are not systematically organized. Videos Pregones Theater maintains a video library of its Main Stage and Visiting Artists programs. The company switched from VHS format to MiniDVD video in 2000; a small number of PAL format videos have also been collected over the years. Titles include public performances, rehearsals, workshops, lecture-demonstrations, work samples and other unclassified raw footage. To date, local BroxNet public-access television has produced six professional-quality live performance videos of Pregones, yielding significant and continued audience interest each time they air. A short list of selected titles follows below. Title Format Year "Migrants! Cantata a los emigrantes" by Pregones VHS 1988 "Voces de acero" by Pregones (video by Diana Coryat) VHS 1990 "The Embrace" by Pregones (video by Diana Coryat) VHS 1990 "The Embrace/El Abrazo" by Pregones (Spanish language) VHS 1990 "Working a Dream" (short documentary by Diana Coryat) VHS 1990 "El último rosario de Medea" by Pregones VHS 1991 "Adiós Ayacucho" Yuyachkani (Peru) VHS 1992 "Baile Cangrejero" by Pregones (video by Irene Sosa) VHS 1992 "México en Vivo" by Sergio Arau y Venganza de Moctezuma (Mexico) VHS 1992 "Sor Juana Hoy" by Ofelia Medina (Mexico) VHS 1993 "Historias" by Pepatian (NYC) VHS 1993 "Latindio" by George Emilio Sánchez (Ecuador) VHS 1994 Pregones & Roadside Theater at St. Ann’s Church VHS 1994 "Agua Sol y Sereno" (Puerto Rico) (BronxNet) VHS 1994 Claudio Mir/Joséfina Báez (Dominican Republic) at P.S. 30 VHS 1994 "Allentales" Pregones/Allentown Project - VHS 1994 Ballets de San Juan (Puerto Rico) (BronxNet) VHS 1995 "Baile Cangrejero" by Pregones & Los Pleneros de la 21 (BronxNet) VHS 1996 "La otra orilla" by Pregones (BronxNet) VHS 1996 "Neruda, déjame cantar por ti" by Franklin Caicedo (Chile) VHS 1997 "Monkey’s Tail and other tales" by Pregones VHS 1997 "San Miguel, amarra tu perro!" by Pregones VHS 1997 "Cabaret Caramba!" by Tony Chiroldes (NYC) VHS 1998 "Quíntuples" by Pregones VHS 1998 "Promise of a Love Song" by The Exchange (New Orleans preview) VHS 1999 "Voices of the Mountain" by Pregones & Appalshop (BronxNet) VHS 2000 "Doña Rosita’s Jalapeño Kitchen" by Ruby Nelda Pérez (Texas) miniDV 2000 "El Bronx Remembered" by Rubí Theater (NYC) miniDV 2000 "U" by Universes (N.Y.C.) miniDV 2000 Herencia Quartet (Philadelphia) in Concert miniDV 2000 Xiomara Fortuna (Dominican Republic) in Concert miniDV 2000 "El bolero fue mi ruina" by Pregones (Paris, France) miniDV 2000 "Los ángeles se han fatigado" by Pregones (BronxNet) VHS 2001 "El bolero fue mi ruina" by Pregones (Peru) miniDV 2001
Workshops "Cuánto cuesta el amor al arte?" In 1996, Pregones Theater published Artistic Director Rosalba Rolón’s "Manual práctico e ilustrado para escribir propuestas y otros padrenuestros." The landmark book is the first Spanish-language fundraising guide addressed to Latino artists in the U.S. The book collects step-by-step guidelines and advice for effective fundraising, including organizational mission statements, research tools, project narratives, budgets, essential technology and more. The accompanying workshop gives participants an overview of the materials in the book and a summary of recent trends in arts fundraising; an opportunity to write and evaluate a mock-proposal narrative and budget; and an occasion to network with other Latino arts professionals. "Adaptaciones/Adaptations." Pregones Theater’s signature methodological workshop and a primer of the company’s approach to literary adaptations. Participants utilize image-development techniques to transform literary, historical and popular texts into theatrical proposals. The workshop addresses questions of fidelity to the original source, collage and improvisation, as well as the role of movement and music in Latino theater. "Image Theater." A three-hour session for actors and directors. Participants engage in a series of movement and improvisation exercises to construct visual images based on selected themes. Direct, analogous and opposing images are introduced and utilized as the basic building blocks that can be arranged and rearranged to underscore specific actions and environments in a performance. "Music and Movement: What You See Is What You Hear." A three-hour workshop based on culturally rooted expressions and family histories as materials for theater. Participants learn to deconstruct musical and dance forms traditional to their cultures as a way to create dramatic sound and movement on stage.
"Physical and Vocal Warm-ups." This workshop provides actors with fundamental physical and vocal warm-ups as preparation for stage work. Participants are introduced to basic exercises and techniques that they can later incorporate into their work. Well-tried formulas and improvisational alternatives are explored. "Practical Theater Curriculum Development." Participants choose, analyze and adapt individual lesson plans based on a proprietary archive of more than 200 samples developed by Pregones artists. Special attention is given to the adequate matching of interactive methodology and curriculum goals. Produced as part of a Teacher Enrichment Workshop Series funded by the New York City Office of Bilingual Education, the workshop is used to introduce innovative teaching methodologies and help Bronx school age children improve their record of performance. The workshops aim (1) to bring an authentic and professional Latino arts component into the schools; (2) to connect Bronx youths with relevant, nourishing arts and culture, and thus strengthen their sense of history, belonging and pride; (3) to nurture the theater-going habits of all youths and of Latino youths in particular; and (4) to deepen audiences’ appreciation and understanding of the performing arts and of Latino theater in particular. Web Site and Virtual Community Project In 1999 Pregones launched its first-ever Web site at http://www.pregones.org. The page was designed as an entry level billboard by Associate Director Jorge B. Merced and engineered by Puerto Rican media-arts professional Amílcar Colón. Another Puerto Rican Web engineer, Carlos Bedoya, also helped Merced draft a three-part blueprint for the Pregones Theater Virtual Community Project, outlined below. The Virtual Community Project marks an ongoing reassessment of Pregones Theater’s technology and audience development needs. As Internet access becomes available to a growing number of Latino households, Pregones proposes to fuse Web technology, community dialogue and seasonal programs. Main Page / Interactive Newsletter: A new site will replace the billboard design launched in 1999. The graphic interface will link the Web site visually with Pregones’ broadsheet bilingual newsletter, "Pregones al día," published three times a year. In addition to weekly updated news capsules and links to selected Latino sites in the web, the Main Page may feature limited quick messaging and e-mail services, as a way to foster audience-artists dialogue. Conversations Live Webcast: A sub-site will be devoted to live Webcast and video archives for Pregones’ ongoing humanities-based series, "Conversations at Pregones Studio." At a time when ethnic and racial categories are fodder for the trivial pursuit of commercial media, "Conversations" bring seasoned scholars and performers together to illustrate the histories of Latino cultural productions in the U.S. Live and archival streaming will allow ?Conversations" to reach audiences well beyond the New York metro area. Pregones Youth Page: A second sub-site will feature an interactive interface geared specifically to Latino young-adult audiences (ages 17-25). The page may feature monitored chat and "virtual stage" applications to encourage young audiences to learn more about and participate more actively in Latino theater in general. The Youth Page is funded by a Doris Duke/TCG New Generations Grant 2001.
|
|
||||||||||
|
||||||||||||
|
||||||||||||
|
|
||||||||||||
