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Rilla Bergman, Lou Fant, and Bill Reese converse with Studs about The National Theater for the Deaf and the production they are presenting. Two of the actors Ms. Bergman and Mr. Reese discuss what it took to learn, as hearing people, the best ways to express themselves with sign language. They all talk about how much more expressive the actors in the Deaf Theater have to be to convey the message of the piece they are presenting.
Director Robert Falls and actor Brian Dennehy discuss the playwright Bertolt Brecht and their production of his play “Galileo.”
American author and screenwriter Peter Feibleman discusses his friendship with Lillian Hellman and the memoir he wrote about her life called “Lilly: Reminiscences of Lillian Hellman.” Includes an interview with Lillian Hellman. Includes a 30 second test tone.
Studs speaks to actress Peggy Nelson, playwright Arnaud d'Usseau, and student Olivier Bernier while he is in France. [Part 2 includes Yves Montand.]
Micheál Mac Liammóir, actor and playwright, discusses his upcoming performance based on the writings of Irish playwright and poet Oscar Wilde.
Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. In conclusion, Marlon Brando added that his being a famous actor posed an ugly and difficult burden to his son.
Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. In a surprising twist, Marlon Brando asks Studs Terkel why he is so obsessed with asking people so many questions and Terkel’s reply was curiosity.
Leonard Bernstein discusses his career as a composer along with his thoughts on American culture, musical theater, Black music, classical music, and education; music is played throughout the program including songs from Marc Blitzstein's play "The Cradle Will Rock."
In conclusion, Joan Littlewood talks about the 21 acres of land that she owns by the banks of the river near London. Littlewood says people who live on the countryside and enjoy the outdoors are theatre lovers. When asked if she herself was crazy, Littlewood answered, "But aren't we all?"
Being both a theatre critic and a theatre director prompted Harold Clurman to write his book, "The Fervent Years: The Group Theatre and the 30's". Clurman hopes that with every play a viewer sees, he or she then takes that material and ponders the message. Clurman explained that plays were a way to communicate truth about life.
While in a dressing room, Gisela May talks about the songs that she sings in the play, "Mother Courage and Her Children". May also talks about lessons learned from Bertolt Brecht's plays.
Danish essayist and novelist Elsa Gress discusses her work, current events, and cultural movements. Her book "My Many Homes" ("Mine mange hjem") is also mentioned. She talks about American and Demark, theater, and the sexual revolution.
Bill Russo talks about the commedia dell'arte production being staged at the Center for New Music at Columbia College Chicago. The production includes two pieces, "Pedrolino's Revenge" and "Isabella's Fortune".
Russian composer Alexander Tcherepnin discusses his travels to China & Japan and their influence on his music, composing for non-traditional instruments, electronic music, teaching young composers, and his "Concerto No. 2".