A director providing instruction

A theatre director or stage director is a practitioner in the theatre field who oversees and orchestrates the mounting of a theatre production (a play, an opera, a musical, or a devised piece of work) by unifying various endeavours and aspects of production. The director's function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realising their artistic vision for it. The director therefore collaborates with a team of creative individuals and other staff, coordinating research, stagecraft, costume design, props, lighting design, acting, set design, stage combat, and sound design for the production. If the production he or she is mounting is a new piece of writing or a (new) translation of a play, the director may also work with the playwright or translator. In contemporary theatre, after the playwright, the director is generally the primary visionary, making decisions on the artistic concept and interpretation of the play and its staging. Different directors occupy different places of authority and responsibility, depending on the structure and philosophy of individual theatre companies. Directors utilize a wide variety of techniques, philosophies, and levels of collaboration.

The director in theatre history[link]

In ancient Greece, the birthplace of European drama, the writer bore principal responsibility for the staging of his plays. Actors would generally be semi-professionals, and the playwright-director oversaw the mounting of plays from the writing process all the way through to their performances, often - as was the case for Aeschylus for instance - also acting in them. He would also train the chorus, sometimes compose the music and supervise every aspect of production. The term applied to him, didaskalos, the Greek word for "teacher," was indicative of how these early directors had to combine instruction of their performers with staging their work.^[1]

In Medieval times, the complexity of vernacular religious drama, with its large scale mystery plays that often included crowd scenes, processions and elaborate effects, gave the role of director (or stage manager or pageant master) considerable importance. A miniature by Jean Fouquet from 1460 (pictured) bares one of the earliest depictions of a director at work. Holding a prompt book, the central figure directs, with the aid of a long stick, the proceedings of the staging of a dramatization of the Martyrdom of Saint Appolonia. According to Fouquet, the director's tasks included overseeing the erecting of a stage and scenery (there were no permanent, purpose-built theatre structures at this time, and performances of vernacular drama mostly took place in the open air), casting and directing the actors (which included fining them for those that infringed rules), and addressing the audience at the beginning of each performance and after each intermission.^[2]

From Renaissance times up until the 19th century, the role of director was often carried by the so-called actor-manager. This would usually be a senior actor in a troupe who took the responsibility for choosing the repertoire of work, staging it and managing the company. This was the case for instance with Commedia dell'Arte companies and English actor-managers like Colley Cibber and David Garrick.

A portrait of Constantin Stanislavski by Valentin Serov

The modern theatre director can be said to have originated from the staging of elaborate spectacles of the Meininger Company, large scale theatre productions staged by Georg II, Duke of Saxe-Meiningen. The management of large numbers of extras and complex stagecraft matters necessitated an individual to take on the role of overall coordinator.^[3] This gave rise to the role of the director in modern theatre, and Germany would provide a platform for a generation of emerging visionary theatre directors, such as Erwin Piscator and Max Reinhardt. Simultaneously, Constantin Stanislavski, principally an actor-manager, would set up the Moscow Art Theatre in Russia and similarly emancipate the role of the director as artistic visionary.

The French regisseur is also sometimes used to mean a stage director. This is most common in ballet. A more common term for theatre director in French is metteur en scène.

Post World War II, the actor-manager slowly started to disappear, and directing become a fully fledged artistic activity within the theatre profession. The director originating artistic vision and concept, and realizing the staging of a production, became the norm rather than the exception. Great forces in the emancipation of theatre directing as a profession were notable 20th century theatre directors like Peter Brook, Peter Hall (Britain), Bertolt Brecht (Germany) and Giorgio Strehler (Italy).

A cautionary note was introduced by famed director Sir Tyrone Guthrie who said "the only way to learn how to direct a play, is ... to get a group of actors simple enough to allow you to let you direct them, and direct."^[Citation?]

A number of seminal works on directing and directors include Toby Cole and Helen Krich's 1972 "Directors on Directing:A Sourcebook of the Modern Theatre", Edward Braun's 1982 book "The Director and the Stage: From Naturalism to Growtowski" and Will's 1976 classic "The Director in a Changing Theatre".^[4]

Well-known theatre directors[link]

• (Derrick Goodwin) Britain/Canada/USA
• Simon Stone (Australia)
• John Caird (Great Britain)
• Constantin Stanislavski (Russia)
• Jophy Lane (Great Britain)

Directing education[link]

Because of the relatively late emergence of theatre directing as a performing arts profession when compared to for instance acting or musicianship, a rise of professional vocational training programmes in directing can be seen mostly in the second half of the 20th century. Most European countries nowadays know some form of professional directing training, usually at drama schools or conservatoires, or at universities. In Britain, the tradition that theatre directors emerge from degree courses (usually in English literature) at the Oxbridge universities has meant that for a long time, professional vocational training did not take place at drama schools or performing arts colleges, although an increase in training programmes for theatre directors can be witnessed since the 1970s and 1980s.

As with many other professions in the performing arts, theatre directors would often learn their skills "on the job"; to this purpose, theatres often employ trainee assistant directors or have in-house education schemes to train young theatre directors. Examples are the Royal National Theatre in London, that frequently organizes short directing courses, or the Orange Tree Theatre and the Donmar Warehouse on London's West End, which both employ resident assistant directors on a one-year basis for training purposes.

Styles of directing[link]

Directing is an artform that has grown with the development of theatre theory and theatre practice. With the emergence of new trends in theatre, so too have directors adopted new methodologies and engaged in new practices. Generally speaking, directors adopt a style of directing that falls into one or more of the following categories:^{[dubious – discuss]}

The dictator

In this style of directing, the director has a strongly assertive role and is very dominant in the process of creating a theatrical work. Rehearsals are more or less fully controlled and predictable, with the actors having little or no say.

The negotiator

'The negotiator' is a style of direction in which the director focuses on a more improvised and mediated form of rehearsal and creation, using the ideas of the production team and actors to shape a theatrical work in quite a democratic style.

The creative artist

The director sees himself or herself as a creative artist working with the 'materials' of dramatic creativity, be they the actors, designers and production team. The "creative artist" wants input from the actors but, as artist, has final say over what is included and how ideas are incorporated.

The confrontationalist

In this style of directing, the director is in constant dialogue and debate with the cast and the production team about creative decisions and interpretations. The director seeks out and actively engages in such exchanges. Out of these exchanges, which can sometimes be heated or risky, comes a final contested product.

Many contemporary directors use a creative amalgam of styles, depending on the genre of the theatrical work, the nature of the project and the type of cast.

Once a show has opened (premiered before a regular audience), theatre directors are generally considered to have fulfilled their function. From that point forward the stage manager is left in charge of all essential concerns.

See also[link]

References[link]

External links[link]

• INSTED: International Network for Students in Theatre Directing
• Working with amateurs
• Theatre directing, Chapter 11
• Stage Matrix
• Society of Stage Directors and Choreographers

Anne Bogart (born September 25, 1951) is a prolific and award-winning American theatre and opera director. She is currently one of the Artistic Directors of SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a Professor at Columbia University where she runs the Graduate Directing Concentration and is the author of three books: A Director Prepares, The Viewpoints Book and And Then, You Act. Conversations with Anne, a collection of interviews she has conducted with various notable artists was published in March 2012.

Anne Bogart’s influence is felt throughout the contemporary theatre: through the widespread use of SITI’s training methods of Viewpoints and Suzuki, her oeuvre of groundbreaking productions, and her guidance at Columbia University of such diverse talents as Pavol Liska, Diane Paulus, Kim Weild, Jay Sheib, Darko Tresnjak and many others. In addition to her books and essays, she publishes a monthly essay for her blog on SITI Company’s website http://siti.groupsite.com/blog.

Life and Career[link]

Anne Bogart earned her Bachelor of Arts degree from Bard College in 1974, followed by a Master of Arts degree from New York University's Tisch School of the Arts in 1977. She served as Artistic Director of the Trinity Repertory Company for its 1989-90 season. From 1990-92 she was president of TCG (Theater Communications Group). In 1992 together with Tadashi Suzuki she founded SITI Company with a mission to create new work, to train young theatre artists and to encourage international collaboration. She has served as SITI Company’s Artistic Director since 1992 and since 2011 she shares the leadership with Company members Ellen Lauren and Leon Ingulsrud.

From 1987 - 1992 Anne Bogart served as the Artistic Director of Via Theater. Founded by Bogart and Brian Jucha, Via Theater created a number of highly regarded productions in New York City including Assimil, No Plays, No Poetry, and Cinderella/Cendrillion. The company led workshops and residencies around the United States.

Between 1980 and 1992, Anne Bogart taught at the Max Reinhart Academy, The Bern Conservatory, The University of Alaska, Bennington College, The American Center (Paris, France), Williams College, New York University, University of California at San Diego, and Playwrights Horizons Theater School. Since 1993 she has served as a Professor at Columbia University where she heads the Graduate Directing Program.

Since 1992 Anne Bogart has taught in residencies around the world and given workshops and master classes at institutions as diverse as La Mama, Umbria, the Abbey Theatre in Dublin, Ireland, many US universities and colleges, as well as theaters and conservatories on many continents. Her skills as a speaker and public intellectual have garnered her over 50 speaking engagements since 1988.

Anne Bogart has written A Director Prepares, And Then, You Act and co-authored The Viewpoints Book with Tina Landau, in which she outlines her theories of and approaches to making theatre. Shorter works have appeared in The Humana Festival – The Complete Plays (1996 and 1999), American Theater Magazine and The Drama Review.

In Anne Bogart: Viewpoints drama critic Mel Gussow refers to Bogart as “a director of the present moment and, one might add, the prescient moment. Relentlessly she searches for imaginative ways to renew the theatrical experience, to make it more relevant for herself and those who are receiving it.”

Anne Bogart is the granddaughter of Admiral Raymond Ames Spruance, Commander of Task Force 16 and later the overall commander of US Naval Forces at the pivotal Battle of Midway.

Anne Bogart is married to Rena Chelouche Fogel.

Viewpoints and Suzuki[link]

After working together with Mary Overlie at NYU in 1979, Bogart developed a version of an improvisational, ensemble-building technique called Viewpoints, based on Overlie's Six View Points of dance. Coupled with Suzuki, the intense physical acting training developed by Tadashi Suzuki and his Company, SCOT, SITI Company’s training methods have become widespread tools of theatre instruction with classes of various levels taught in Universities and colleges across the United States and in seasonal intensives led by SITI Company members in New York City, Saratoga Springs, NY and in cities around the world.

Awards and Recognition[link]

Anne Bogart has won two Best Director Obie Awards, one for No Plays No Poetry But Philosophical Reflections Practical Instructions Provocative Opinions and Pointers From a Noted Critic and Playwright (1988) based on the theories of Bertolt Brecht and the other for Paula Vogel’s The Baltimore Waltz (1990). In 1984 she was also honored with the Bessie Award for Choreographer/Creator for her work with South Pacific. In 1995 Bogart received an ATHE Career achievement award and in 2005 was honored with and American Theatre Wing award. In 1998 Bogart received a grant from the Pew Charitable Trusts. In 2000 she received a Guggenheim Fellowship and in 2006 she was awarded a US Artists Fellowship. She has received University awards from institutions around the world the country including Trinity College, Emory University, Louisiana State University in Baton Rouge, Bard College, City University of New York, and the Yale Dramatic Association. In 2011 she received an Honorary Doctorate from Skidmore College. In 2012 she was one of the recipients of the inaugural round of Doris Duke Performing Artist Awards.

Productions[link]

Café Variations - by Charles L. Mee Jr., music by George and Ira Gershwin, a co-production with SITI Company and ArtsEmerson, Boston. (April 2012)

Carmen – opera by Georges Bizet, Glimmerglass Opera, New York. (July 2011)

Trojan Women – adapted from Euripides by Jocelyn Clarke, The Getty Villa. (August 2011)

American Document, by Charles L. Mee Jr., premiered at the Joyce in New York City – a co-production with SITI Company and the Martha Graham Dance Company. (2010)

Antigone, by Jocelyn Clarke, premiered at the Getty Villa, Los Angeles. (2009)

Under Construction, by Charles L. Mee Jr. premiered at the Humana Festival and toured to Arizona and the Krannert Center in Illinois. (2009)

Freshwater, a Comedy, by Virginia Woolf, a co-production with SITI Company and the Women's Project, NYC (2009)

I Capuleti e i Montecchi, an opera by Vincenzo Bellini, Glimmerglass Opera, NY. (2008)

Who Do You Think You Are, devised with SITI Company, premiered at Arizona State University in Tempe, Arizona. (2008)

Dead Man’s Cell Phone, by Sarah Ruhl premiered at Playwrights Horizons in New York City. (2008)

Radio Macbeth adapted from William Shakespeare, premiered at the Wexner Center for the Arts in Columbus, Ohio. Also performed at the Public Theatre, New York City, the International Festival of Arts and Ideas in Connecticut and the Dublin Theatre Festival. (2007)

Hotel Cassiopeia by Charles L. Mee Jr. with SITI Company premiered at the Actors Theatre of Louisville Humana Festival of New American Plays. Toured to Chicago, University of Arizona, SUNY Purchase and BAM (2006)

An Evening with Sarah Bernhardt performed at the Jewish Museum in New York City featuring Cherry Jones, Debra Winger, Lauren Flanigan, Lynn Cohen, Ellen Lauren and others. (2005)

For Saxophone by Sophie Treadwell premiered at Arena Stage in Washington, DC. (2005)

Death and the Ploughman written by Johannes von Seas in 1401, a co-production of the SITI Company and the Wexner Center premiered at the Wexner Center in Columbus, Ohio. (2004)

A Midsummer Night's Dream by William Shakespeare with the SITI Company, San Jose Repertory Company in San Jose, California. (2004)

Nicolas and Alexandra, a new opera by Deborah Drattell at the Los Angeles Opera, featuring Placido Domingo as Rasputin, the SITI Company, conducted by Rostropovich. (2003)

Marina, a Captive Spirit, a new opera by Deborah Drattell, American Opera Projects, premiere May 1 at the Daryl Roth 2 Theater in NYC. (2003)

La Dispute by Pierre Marivaux at the American Repertory Theater with SITI Company, February in Cambridge, MA. (2003)

Short Stories an original theater piece developed with the Kaleidosckop Theater Company in Copenhagen, Denmark. (2002)

Score by Jocelyn Clarke, a co-production with the SITI Company, the Wexner Center and the Humana Festival. (2002)

Hay Fever by Noël Coward, a co-production with the SITI Company and Actors Theatre of Louisville. January 3, 2002, in Louisville, Kentucky. (2002)

Lilith, a new opera by Deborah Drattell, New York City Opera, premiere. (2001)

bobrauchesnbergamerica, by Charles L. Mee Jr., at the Human Festival of New American Plays. Later toured to Stamford, CT. and Chicago, Ill., BAM Next Wave Festival and the Bonn Biennale (2001).

Room, by Jocelyn Clarke created in collaboration with the SITI Company at the Wexner Center in Columbus, Ohio and City Theatre in Pittsburgh, Ohio. In 2001-2003 seasons toured to Seattle, Los Angeles, San Francisco, New York City’s Classic Stage Company, and Theater Emory in Atlanta, Georgia. (2000)

War of the Worlds, by Naomi Iizuka, at the Humana Festival of New American Plays and toured to Edinburgh, Scotland and opened the Brooklyn Academy of Music Next Wave Festival, Oct. 4-8th in New York. (2000)

Radio Play The Radio Play: War of the Worlds by Howard Koch, December 1999 at Joe's Pub and the West Bank, in New York City. Also the Kennedy Center in February 2000. (1999)

Gertrude and Alice, by Lola Pasholinski and Linda Chapman, May, 1999 at the Signature Theater in New York City. Also performed in Manchester, England.

Short Stories created and performed at the Mozarteum in Salzburg, Austria, May 1999. Also toured to Charlesville, France.

Songs and Stories from Moby Dick, (co-direction with Laurie Anderson) by Laurie Anderson. Opened the Brooklyn Academy of Music 1999-2000 season and toured nationally and internationally.

Cabin Pressure, created in collaboration with the SITI Company, opened March 18, 1999, at the Humana Festival of New American Plays in Louisville, Kentucky. Toured to the Columbus, Ohio; Chicago, Illinois; Miami, Florida; and Los Angeles, California.

Alice’s Adventures Underground, written by Jocelyn Clarke and created in collaboration with the SITI Company at the Wexner Center in Columbus, Ohio. Subsequent performances in New York City and Massachusetts (1998)

Bob written with Jocelyn Clarke, performed by the SITI Company at New York Theatre Workshop, New York City and The Wexner Center in Columbus, Ohio. Toured to Berlin, Paris, Tbilisi, Dublin, Minneapolis, Seattle, Chicago, Portland^{[disambiguation needed ]}, Amsterdam, London and upcoming, 2002, in San Francisco. (1998)

Private Lives, by Noël Coward, performed by the SITI Company at Actors’ Theatre of Louisville, Kentucky. (1998)

Culture of Desire created in collaboration with the SITI Company, performed at City Theatre in Pittsburgh, Portland Stage in Maine, the International Theater Festival in Bogota, Colombia and ran for one month at New York Theatre Workshop. (1997)

American Silents, original work performed at Raw Space in New York City, produced by Columbia University in May 1997.

The Seven Deadly Sins, by Kurt Weill and Bertolt Brecht, at New York City Opera. (1997) Reprised in New York in Sept and Oct 1998.

Miss Julie, by August Strindberg, Actors Theatre of Louisville and performed by the SITI Company. (1997)

Go, Go, Go by Juliana Francis at PS 122, New York City. (1996)=

Going, Going, Gone created in collaboration with the SITI Company, performed at the Humana Festival of New American Plays in Louisville, Saratoga Springs, NY, Toga, Japan, the Magic Theatre in San Francisco and the Miller Theatre, New York City. (1996)

The Adding Machine by Elmer Rice, Actors Theater of Louisville, KY. (1995)

Small Lives/Big Dreams created in collaboration with the SITI Company, based on the five major plays of Anton Chekhov, performed In Toga Japan, Saratoga Springs, NY, Louisville KY, P.S. 122 in New York City, the 1996 Olympic Arts Festival in Atlanta Georgia, and the Miller Theater, New York City. (1994)

Hot 'N Throbbing by Paula Vogel at the American Repertory Theater in Cambridge, MA. (1994)

Marathon Dancing by Anne Bogart, Laura Harrington and Christopher Drobney at En Garde Arts, New York City. (1994)

The Medium created in collaboration with the SITI Company, Toga, Japan, Saratoga Springs, NY, New York Theater Workshop, NY, Louisville KY, San Francisco, Dublin, Ireland (won best foreign production), City Theater in Pittsburgh, PA, The Wexner Center, Columbus, OH and the Miller Theater, New York City. (1993)

The Women by Claire Boothe Luce, Hartford Stage, Hartford, CT. (1993)

Picnic by William Inge, Actors Theater Of Louisville, Louisville, KY. (1993)

Orestes by Charles L. Mee Jr., The Saratoga International Theater Institute, Saratoga Springs, N.Y. and Toga-mura, Japan. (1993)

The Women by Claire Boothe Luce, San Diego Rep, San Diego, Ca. (1993)

American Vaudeville by Anne Bogart and Tina Landau, Alley Theatre, Houston, TX. (1993)

The Baltimore Waltz by Paula Vogel, Circle Rep, New York, N.Y. and the Alley Theater, Houston TX. (1993)

In the Jungle of Cities by Bertolt Brecht at the Public Theater, New York, N.Y. (1991)

Another Person is a Foreign Country by Charles L. Mee Jr., En Garde Arts, New York, N.Y. (1991)

In The Eye of the Hurricane by Eduardo Machado, Actors Theater of Louisville, Louisville, K.Y. (1991)

Once in a Lifetime by Kaufman and Hart, ART, Cambridge, MA. (1990)

On the Town by Bernstein, Comden and Green, Trinity Repertory Company, Providence, RI. (1990)

Summerfolk by Maxim Gorky. Trinity Repertory Company, Providence, RI. (1989)

Life is a Dream by Calderón de la Barca, American Repertory Theater, Cambridge, MA. (1989)

Strindberg Sonata based on the works of August Strindberg. Developed and performed at UCSD at the Mandell Weiss Center for the Performing Arts, La Jolla, CA. (1989)

Once in a Lifetime by Kaufman and Hart. River Arts Repertory, Woodstock, NY. (1988)

Kaetchen von Heilbronn by Heinrich von Kleist, ART Institute, Cambridge, MA. (1988)

No Plays, No Poetry adapted from the theoretical writings of Bertolt Brecht. Produced by Via Theater, The Talking Band and Otrabanda Company. Ohio Theater. (1988)

Cinderella/Cendrillon adapted from the opera “Cendrillon” by Jules Massenet, text by Eve Ensler. Via Theater and Music-Theatre Group, St. Clement’s Church, NY. (1988)

Assimil original dance theater work produced by Via Theater and the Danspace Project at St. Mark’s Church, NY. (1987)

In His Eightieth Year by Gillian Richards. Produced by BACA Downtown and Cement Theater, Brooklyn, NY. (1987)

Where's Dick? An opera by Stuart Wallace and Michael Korie.Opera Omaha, Nebraska. (1987)

Babel, an original work performed by the Theater zum Westlischen Stadhirschen (Berlin), produced by West Berlin’s 750 year Festival in four locations in West Berlin. (1987)

The Dispute by Pierre Marivaux. UCSD at the Mandell Weiss Center for the Performing Arts, La Jolla, CA. (1987)

Danton's Death by Georg Büchner, NYU’s Tisch School of the Arts, NY. (1986)

Cleveland by Mac Wellman. BACA Downtown, Brooklyn, NY. (1986)

Between Wind by Jessica Litwak. Music-Theatre Group, Stockbridge, MA. (1986)

1951 written with Mac Wellman. New York Theatre Workshop, NY. (1986)

1951 written with Mac Wellman. UCSD, La Jolla, CA. (1986)

1951, Les Traces American Center, Paris, France. (1986)

The Making of Americans based on the novel by Gertrude Stein, music by Al Carmines, libretto by Leon Katz. Music-Theatre Group, Stockbridge, MA and St. Clement’s Church, NY. (1985)

Four One Act Operas by new composers, Houston Grand Opera, Houston, Texas. (1985)

The Women by Claire Booth Luce. Bennington College, Bennington, Vermont. (1985)

Albanian Softshoe by Mac Wellman. River Arts Repertory, Woodstock, NY. (1985)

Spring Awakening by Frank Wedekind, with music by Lieber and Stoller. NYU’s Tisch School of the Arts, NY. (1984)

South Pacific by Rodgers and Hammerstein. NYU’s Tisch School of the Arts, NY. (1984)

Inge: How They Got There based on texts by William Inge, co-directed with John Bernd. Performance Space 122, NY. (1984)

History, an American Dream, an original dance theater piece. Danspace Project at St. Mark’s Church, NY. (1983)

Grid, an original theater piece. Werkhaus Mosach, Munich, West Germany. Toured to Italy, Germany and Austria. (1983)

Sommer Nachts Traum/Lost and Found, an original dance theater piece. Munich Theater Festival, West Germany. (1983)

At the Bottom, an adaptation of “The Lower Depths” by Maxim Gorky. New York University’s Experimental Theater Wing, NY. (1983)

Cordial Panic, three plays by Noël Coward, performed simultaneously. University of the Streets, NY. (1983)

Women and Men, A Big Dance, an original dance theater piece. P.S. 122, NY. (1982)

The Ground Floor and Other Stories, an original theater piece. University if the Streets, NY. (1982)

Small Town/Big Dreams, an original dance theater piece. Dance Gallery, Northampton, MA. (1982)

Sehnsucht, an adaptation of “A Streetcar Named Desire” by Tennessee Williams. Abia Theater, Northampton, MA. (1982)

Die Gier Nach Banalem, an original theater work. Theater am Montag, Bern, Switzerland. (1982)

Between the Delicate, an original theater work. Theater am Montag, Bern, Switzerland. (1982)

Leb Oder Tot, an original theater work. Hochschule de Kunste, Berlin, West Germany. (1981)

I’m Starting Over, I’m Starting Over Again, an original theater work. August Moon Arts Festival, Catskill, NY. (1981)

Exposed!, an original theater work based on the works of Alfred Hitchcock. New York University’s Experimental Theater Wing, NY. (1981)

Dance on the Volcano, an original theater work. New York University’s Experimental Theater Wing, NY. (1981)

The Emissions Project, an original conception involving a new piece each week performed as a soap opera in different locations in New York City. (1980)

Artourist, an original dance theater work, co-directed with Mary Overlie. New York University’s Experimental Theater Wing, NY. (1980)

Out of Sync, an adaptation of Anton Chekhov’s “The Seagull”. Self-produced in New York City.

Hauptstadt, an original theater work. NYU’s Experimental Theater Wing, NY. (1979)

Inhabitat, an original theater work self produced in New York City. (1978)

RD1, The Waves, an adaptation of Virginia Wolf’s “The Waves”. Co-produced by Theater for the New City and The Iowa Theater Lab. Performed in New York, Canada, California, Wisconsin and Pennsylvania. (1977)

Two Portraits by Deirdre O'Connell. New York and San Francisco. (1976)

Macbeth, a deconstruction of Shakespeare’s play. The Brook, New York. (1976)

Publications[link]

Conversations with Anne – Published by TCG Publications, New York, 2012

And Then You Act; Making Art in an Unpredictable World – Published by Routledge, London, 2007

The Viewpoints Book; A Practical Guidebook to Viewpoints and Composition – co-written with Tina Landau, published by TCG Publications, New York, 2005

A Director Prepares; seven essays on art and theater - Published by Routledge, London, 2001.

Notes on Cabin Pressure – in The Humana Festival – The Complete Plays, Smith and Kraus, 1999

American Theater in the Twenties, in 500 Years of Theater History from the Brown-Forman Classics in Context Festival at Actors Theatre of Louisville, Smith and Kraus, 1999.

Going, Going Gone: An Article – in The Humana Festival – The Complete Plays, Smith and Kraus 1996.

Terror, Disorientation and Difficulty, Anne Bogart, Viewpoints, Smith and Kraus, 1995

American Theater Magazine - several frontispiece articles.

The Drama Review - A theater manifesto published in1980.

References[link]

• Bogart, Anne. 2001. A Director Prepares: Seven Essays on Art and Theatre. London: Routledge. ISBN 0-415-23832-3.

• Bogart, Anne. 2007. And Then, You Act: Making Art in an Unpredictable World. London: Routledge. ISBN 0-415-41142-4.

• Bogart, Anne and Tina Landau. 2005. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group.ISBN 1-55936-241-3.

• Dixon, Michael Bigelow and Joel A. Smith, eds. 1995. Anne Bogart: Viewpoints. Career Development Ser. Lyme, NH: Smith and Kraus. ISBN 1-880399-94-6.

• Lampe, Eelka. 2001. "SITI - A Site of Stillness and Surprise: Ann [sic] Bogart's Viewpoints Training Meets Tadashi Suzuki's Method of Actor Training." InPerformer Training: Developments Across Cultures. Ed. Ian Watson. Contemporary Theatre Studies Ser. London: Harwood Academic Publishers. ISBN 90-5755-151-9. p. 171-189.

David Cromer (born October 17, 1964) is an American theatre director and stage actor. He has received recognition for his work Off-Broadway and in his native Chicago. Cromer has won or been nominated for numerous awards, including winning the Lucille Lortel Award and Obie Award for his direction of Our Town.^[1] He was nominated for the Drama Desk Award and the Outer Critics Circle Award for his direction of The Adding Machine.^[2][3]

Biography[link]

Born the third of four sons to Richard and Louise Cromer, David was raised in Skokie, Illinois. He dropped out of high school his junior year (later acquiring a GED), and attended Columbia College Chicago.^[4]

He was nominated for or won the Joseph Jefferson Award for his work in Chicago productions, winning for Angels in America Parts I and II in 1998, The Price in 2002, and The Cider House Rules in 2003.^[5][6] In 2005, Cromer made his Off-Broadway debut directing Austin Pendleton's Orson's Shadow at the Barrow Street Theatre. The production originated at the Steppenwolf Theatre Company in Chicago.^[7] His 2008 production of a musical adaptation of The Adding Machine also moved to Off-Broadway from Chicago^[8] and received wide critical acclaim,^[9] receiving six Lucille Lortel Award nominations in the 2008 season, more than any other show.^[3] Cromer received a nomination for the 2008 Drama Desk Award, Outstanding Director of a Musical, for The Adding Machine.^[2] It is now being produced in regional theaters around the country.^[10]

In 2009, Cromer performed the role of the Stage Manager in an Off-Broadway revival of Our Town, which he also directed, at The Barrow Street Theatre.^[11] The production, which began in Chicago in 2008, has been acclaimed for its non-traditional elements.^[12] Cromer won the Lucille Lortel Award for Outstanding Director and the Obie Award, Directing for Our Town.^[13] In the wake of his Our Town success, The New York Times profiled Cromer, referring to "his suddenly thriving career [which] has etched him as a visionary wunderkind, a genius in a black cape with secrets up his billowing sleeves."^[4]

In October 2009, Cromer directed a short-lived Broadway revival of Brighton Beach Memoirs starring Noah Robbins, Santino Fontana, Laurie Metcalf, and Dennis Boutsikaris. (The planned production of Broadway Bound was cancelled.)^[14] He directed the Broadway revival of The House of Blue Leaves, which starred Ben Stiller and Edie Falco played a limited run in April 2011 to August 2011.^[15]

In Summer 2011, he directed A Streetcar Named Desire, with Jessica Hecht as Blanche, at the Williamstown Theater Festival.^[16]

He will direct the Broadway-bound musical Yank! by Joseph and David Zellnik.^[17] In 2010, he said of Yank!, "I'm hungrier to work on this than anything in recent memory."^[18] He was announced to direct a Broadway revival of Tennessee Williams' Sweet Bird of Youth starring Nicole Kidman and James Franco and set for Fall 2011, but in August 2011 the production was delayed and Franco dropped out; Cromer says it is "still on the drawing board".^[19]

He was named a 2010 MacArthur Fellow.^[20]

Cromer is openly gay.^[4]

References[link]

External links[link]

• Internet Off-Broadway Listing
• David Cromer at the Internet Broadway Database

Juliano Mer-Khamis
Juliano Mer-Khamis, 2009
Born	Juliano Khamis (1958-05-29)29 May 1958 Nazareth, Israel
Died	4 April 2011(2011-04-04) (aged 52) Jenin, West Bank
Cause of death	Assassination
Resting place	Kibbutz Ramot Menashe, Israel[1]
Occupation	Actor, director, activist
Years active	1984–2011

Juliano Mer-Khamis (Hebrew: ג'ולי�?נו מֵר ח'מיס‎‎, Arabic: ج�?ليان�? مير خميس‎; ‎29 May 1958 – 4 April 2011^[2]) was an Israeli actor, director, filmmaker and political activist of Jewish and Christian Arab parentage.^[3] On 4 April 2011, he was assassinated by a masked gunman in the Palestinian city of Jenin, where he established the Freedom Theatre.

Biography[link]

Juliano Khamis (later Mer-Khamis) was born in Nazareth, the son of Arna Mer-Khamis, a Jewish communist, and Saliba Khamis, an Israeli Arab of Palestinian Christian descent who was an intellectual as well as one of the leaders of the Israeli Communist Party in the 1950s. He had two brothers, Spartacus and Abir.^[4] His grandfather was Gideon Mer, a scientist who pioneered the study of malaria during the British Mandate.^[5] In his youth, he adopted his maternal surname, Mer, and served in the Israeli Defense Forces as a combat soldier in the Paratroopers Brigade.^[6] In a 2009 interview with Israel Army Radio, Mer-Khamis said of his background: "I am 100 percent Palestinian and 100 percent Jewish."^[7]

Mer-Khamis was married to Jenny, a Finnish activist he met in Haifa. They had a son, Jay, and were expecting the birth of twins at the time of his death.^[8]

Film and acting career[link]

Mer-Khamis's first film, The Little Drummer Girl, was an American thriller from 1984 directed by George Roy Hill and starring Diane Keaton, which dealt with the Israeli-Arab conflict. He starred in Avi Nesher's film, Za'am V'Tehilah (1985). Later he appeared in such Israeli films as 51 Bar (1985), Wedding in Galilee (1987), Tel Aviv Stories (1992), Zohar (1993), Under the Domim Tree (1994), and Overture 1812 (1997). He appeared in several films by Amos Gitai: Kedma, Esther (1986) and Kippur (2000).^[9]

In 2002, Mer-Khamis was nominated for the Ophir award for Best Actor for his role in Kedma.^[10] One of the last films in which he appeared was the Palestinian film Salt of this Sea (2008), which was nominated for an Academy Award for Best Foreign Language Film.

He performed on stage with Beit Lessin Theater and Habima Theatre. In 2003, he produced and directed his first documentary film, Arna's Children, together with Danniel Danniel. The film is about his mother's work to establish a children's theatre group in Jenin during the 1980s. Seven years after the death of his mother, and following the battle in Jenin in 2002, Mer-Khamis returned to Jenin to meet and interview the children who participated in the theater, and found out that some became militants and were killed.^{[citation needed]}

In 2006, following a wave of international support which was followed by his film, Mer-Khamis opened a community theater for children and adults in Jenin, called The Freedom Theatre.

The Freedom Theatre[link]

Juliano Mer-Khamis lying in state at the al-Midan Theatre, Haifa. The Arabic script on his picture reads shaheed al-ḥuriya, which means "Martyr for Freedom."

In 2006, Mer-Khamis established the Freedom Theatre along with Zakaria Zubeidi, a former military leader of the Jenin Al-Aqsa Martyrs' Brigades, Jonatan Stanczak, a Swedish-Israeli activist, and Dror Feiler, a Swedish-Israeli artist. The Freedom Theatre is a community theatre that provides opportunities for the children and youth of the Jenin Refugee Camp by developing skills, self-knowledge and confidence and using the creative process as a model for social change.^[11]

Assassination[link]

Mer-Khamis was shot by masked gunmen in front of the theater he founded in Jenin.^[12] He was rushed to the Jenin Hospital, where he was pronounced dead after his arrival.^[13] PA Prime Minister Salam Fayyad condemned the killing saying that "We cannot stand silent in the face of this ugly crime, it constitutes a grave violation that goes beyond all principles and human values and it contravenes with the customs and ethics of co-existence."^[14]

After being identified by the baby-sitter (who'd been in the car when the assassination occurred) in three separate line-ups, Palestinian police charged Mujahed Qaniri, from Jenin's refugee camp, with having carried out the murder. There are varying accounts of Qamiri's affiliation, some describe him as a former member of the al-Aqsa Martyrs' Brigades who defected to Hamas, but a Hamas spokesman has denied any involvement, describing this as a purely criminal incident.^[12][15]

On 19 April 2011, Adnan Dameery, spokesperson of the Palestinian Security Forces, reported DNA tests had exonerated a detained suspect and that the murderer was still at large.^[16]

Filmography[link]

Television and video[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Juliano Mer

• Juliano Mer-Khamis at the Internet Movie Database
• The Murder of an Actor/Activist – slideshow by Life magazine

Víctor Lidio Jara Martínez (Spanish pronunciation: [�?biktor �?liðjo �?xaɾa mar�?tines]) (September 28, 1932 – September 16, 1973^[1]) was a Chilean teacher, theatre director, poet, singer-songwriter, political activist and member of the Communist Party of Chile. A distinguished theatre director, he devoted himself to the development of Chilean theatre, directing a broad array of works from locally produced Chilean plays, to the classics of the world stage, to the experimental work of Ann Jellicoe. Simultaneously he developed in the field of music and played a pivotal role among neo-folkloric artists who established the Nueva Canción Chilena (New Chilean Song) movement which led to a revolution in the popular music of his country under the Salvador Allende government. Shortly after the Chilean coup of 11 September 1973, he was arrested, tortured and ultimately shot to death with 44 bullet shots by machine gun fire. His body was later thrown out into the street of a shanty town in Santiago.^[2] The contrast between the themes of his songs, on love, peace and social justice and the brutal way in which he was murdered transformed Jara into a symbol of struggle for human rights and justice across Latin America.

Early life[link]

Víctor Jara was born in the locality of Lonquén, near the city of Santiago, to poor peasants Manuel Jara and Amanda Martínez. Jara's father, Manuel, was illiterate and wanted his children to work as soon as they could rather than get an education, so by the age of 6, Jara was already working on the land. Manuel Jara was unable to extract a livelihood from the earnings as a peasant in the Ruiz-Tagle estate nor was he able to find stable work to support his large family. He took to drinking and became violent. His relationship with his wife deteriorated, and Manuel left the family when Víctor was still a child to look for work elsewhere. Amanda persevered in raising Víctor and his siblings by herself, insisting that all of them should receive a good education. Amanda, a mestiza with deep Araucanian roots in the south of Chile, was not illiterate, but rather self-taught; played the guitar, the piano and was a singer in her town, singing traditional folk songs at local functions like wedding and funerals for the locals.^[3]

Jara's mother died when he was 15, leaving him to make his own way thereafter. He began to study to be an accountant, but soon moved into a seminary instead, studying to become a priest. After a couple of years, however, he became disillusioned with the Church and left the seminary. Subsequently he spent several years in the army before returning to his home town to pursue interests in folk music and theater.

Artistic life[link]

Jara was deeply influenced by the folklore of Chile and other Latin American countries; he was particularly influenced by artists like Violeta Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. Jara began his foray into folklore in the mid-1950s when he began singing with the group Cuncumen. He moved more decisively into music in the 1960s getting the opportunity to sing at Santiago's La Peña de Los Parra, owned by �?ngel Parra. Through them Jara became greatly involved in the la Nueva Canción Chilena movement of Latin American folk music. He published his first recording in 1966 and, by 1970, had left his theater work in favor of a career in music. His songs were drawn from a combination of traditional folk music and left-wing political activism. From this period, some of his most renowned songs are Plegaria a un Labrador ("Prayer to a Worker") and Te Recuerdo Amanda ("I Remember You Amanda"). He supported the Unidad Popular ("Popular Unity") coalition candidate Salvador Allende for the presidency of Chile, taking part in campaigning, volunteer political work, and playing free concerts.

Political activism[link]

Allende's campaign was successful and, in 1970, he was elected president of Chile. However, the Chilean right wing, who opposed Allende's socialist politics, staged a coup with the help of the Chilean military on September 11, 1973, in the course of which Allende was killed by Pinochet's men (See Death of Salvador Allende). At the moment of the coup, Jara was on the way to the Technical University (today Universidad de Santiago), where he was a teacher. That night he slept at the university along with other teachers and students, and sang to raise morale.

Víctor Jara's grave in the General Cemetery of Santiago. The note left reads: “�?Till Victory!”

Death[link]

On the morning of September 12, Jara was taken, along with thousands of others, as a prisoner to the Chile Stadium (renamed the Estadio Víctor Jara in September 2003^[4] ). In the hours and days that followed, many of those detained in the stadium were tortured and killed there by the military forces. Jara was repeatedly beaten and tortured; the bones in his hands were broken as were his ribs.^[5] Fellow political prisoners have testified that his captors mockingly suggested that he play guitar for them as he lay on the ground with broken hands. Defiantly, he sang part of "Venceremos" (We Will Win), a song supporting the Popular Unity coalition.^[5] After further beatings, he was machine-gunned on September 16, his body dumped on a road on the outskirts of Santiago and then taken to a city morgue where 44 bullets were found in his body.

Jara's wife Joan was allowed to come and retrieve his body from the site and was able to confirm the physical damage he had endured. After holding a funeral for her husband, Joan Jara fled the country in secret.

Joan Turner Jara currently lives in Chile and runs the Víctor Jara Foundation. The Chile Stadium, also known as the Víctor Jara Stadium, is often confused with the Estadio Nacional (National Stadium).

Before his death, Jara wrote a poem about the conditions of the prisoners in the stadium, the poem was written on a paper that was hidden inside a shoe of a friend. The poem was never named, but is commonly known as Estadio Chile.

In June 2008, Chilean judge Juan Eduardo Fuentes re-opened the investigation into Jara's death. Judge Fuentes said he would examine 40 new pieces of evidence provided by the singer's family.^[6] On May 28, 2009, José Adolfo Paredes Márquez, a 54-year-old former Army conscript was arrested the previous week in San Sebastian, Chile, and was formally charged with Jara's murder. Following Paredes' arrest, on June 1, 2009, the police investigation identified the name of the officer who first shot Víctor Jara in the head. The officer played Russian roulette with Jara, by placing a single round in his revolver, spinning the cylinder, placing the muzzle against Jara's head and pulling the trigger. The officer repeated this a couple of times, until a shot fired and Víctor fell to the ground. The officer then ordered two conscripts (one of them Paredes) to finish the job, by firing into Jara's body.^[7][8][9] A judge ordered Jara's body to be exhumed in an effort to determine more information regarding his death.^[10]

On December 3, 2009, a massive funeral took place in the "Galpón de Víctor Jara" across from "Plaza Brazil". Jara's remains were honoured by thousands. His remains were re-buried in the same place he was buried in 1973.^[11]

Víctor Jara's legacy[link]

Although the military regime managed to burn the vast majority of master recordings of Jara's music, Joan Jara managed to sneak recordings out of Chile, which were later copied and distributed worldwide. Joan Jara later wrote an account of Víctor Jara's life and music, titled Víctor: An Unfinished Song.

On September 22, 1973, the Soviet/Russian astronomer Nikolai Stepanovich Chernykh named a newly found asteroid 2644 Víctor Jara, in honor of Víctor Jara's life and artistic work.

American folksinger Phil Ochs, who met and performed with Jara during a tour of South America, organized a benefit concert in his memory in New York in 1974. Titled "An Evening With Salvador Allende", the concert featured Bob Dylan, Pete Seeger, Arlo Guthrie and Ochs.

An East German biographical movie called El Cantor (the Singer) was made in 1978. It was directed by Jara's friend Dean Reed, who also played the part of Jara.

Dutch-Swedish singer-songwriter Cornelis Vreeswijk recorded "Blues för Victor Jara" on his album Bananer - bland annat in 1980.

In the late 1990s British actress Emma Thompson started to work on a screenplay, which she planned to use as the basis for a movie about Víctor Jara. Thompson, a human rights activist and fan of Jara, considered the political murder of the Chilean artist as a symbol of human rights violation in Chile. She believed a movie about Jara's life and death would make more people aware of the Chilean tragedy.^[12] The movie would feature Antonio Banderas – another fan of Víctor Jara – as Jara himself where he would sing some of his songs and Emma Thompson as Víctor Jara's British wife Joan Jara.^[13] The project has not yet been made into a film.

The Soviet musician Alexander Gradsky created the rock opera Stadium (Стадион, Stadion) in 1985 based on the events surrounding Jara's death.^[14]

The Southwestern American band Calexico open their 2008 album Carried to Dust with the song "Victor Jara's Hands".

Portuguese folk band Brigada Víctor Jara is named after him.

Songs mentioning Víctor Jara[link]

• The Chilean group Inti-Illimani dedicated the song Canto de las estrellas to Víctor Jara.

• In 1975, Norwegian folksinger Lillebjørn Nilsen included a tribute song entitled "Victor Jara" on his album Byen Med Det Store Hjertet. The same year the Swedish band Hoola Bandoola Band included their song Victor Jara on their album Fri information.
• Belgian singer fr: Julos Beaucarne relates the death of Víctor Jara in his song Lettre à Kissinger.^[15]
• French singer Pierre Chêne also wrote a song about Jara's death entitled Qui Donc Est Un Homme?
• In 1976, Arlo Guthrie included a biographical song entitled Victor Jara on his album Amigo.^[16] The words were written by Adrian Mitchell and Arlo Guthrie wrote the music.^[17][18]

• Former German folk duo Zupfgeigenhansel (Thomas Friz and Erich Schmeckenbecher) featured a live performance of their song Victor Jara as a last track on their 1978 LP Volkslieder III.
• The Clash sing about Jara in the song Washington Bullets on their 1980 album Sandinista!. Joe Strummer sings:

• Holly Near's Sing to me the Dream is a tribute to Víctor Jara.

• British Jazz-Dance band Working Week's debut single Venceremos (We will win) from their 1985 first album Working Nights is a tribute to Victor Jara.

• Rory McLeod's title song on his album Angry Love is about Jara.^[19]

• In 1987, U2 included the track One Tree Hill on their album, The Joshua Tree where Bono sings: "And in the world a heart of darkness, a fire zone. Where poets speak their heart, then bleed for it. Jara sang, his song a weapon, in the hands of love. Though his blood still cries from the ground."

• Jackson Browne recorded My Personal Revenge on his CD World in Motion in 1989 as a tribute to Víctor Jara. The lyrics include "My personal revenge will be to give you... these hands that once you so mistreated."

• Chuck Brodsky wrote and recorded The Hands of Victor Jara ^[20] This 1996 tribute includes these words:

The blood of Victor Jara
Will never wash away
It just keeps on turning
A little redder every day
As anger turns to hatred
And hatred turns to guns
Children lose their fathers
And mothers lose their sons

• Ismael Serrano, a Spanish singer included Jara's name and the name of the song Te Recuerdo Amanda in his Vine del Norte song on the album La Memoria de los Peces, released in 1998.^[21]

• Irish folk artist Christy Moore recorded the song Victor Jara on his Live at the Point album

• On Barnstormer's album Zero Tolerance (2004), Attila the Stockbroker mentions Jara in the song Death of a Salesman, written just after the September 11 attacks on the World Trade Center. "You were there in Chile, 11 September '73. 28 years to the day - what a dreadful irony. Victor Jara singing 'midst the tortured and the dead. White House glasses clinking as Allende's comrades bled."

• Marty Willson-Piper, who plays guitar for The Church, included Song for Victor Jara on his 2009 solo album, Nightjar.

• The Argentine rock group, Los Fabulosos Cadillacs, remember Víctor Jara in their hit song, Matador, with the lyrics "Que suenan, son balas me alcanzan, me atrapan, resiste, 'Víctor Jara' no calla... Matador!! Matador!!"

• Heaven Shall Burn wrote and performed two songs about him and his legacy called The Weapon They Fear & The Martyrs Blood.

• Spanish ska group Ska-P dedicated a song called Juan Sin Tierra to Jara (the song was originally written by Jorge Saldaña, and previously recorded by Jara), with the chorus going:

• Tucson, AZ-based Calexico include a song called Víctor Jara's Hands on their 2008 album Carried to Dust.

• Cuban rap group Eskuadron Patriota mentions Jara in their song Decadencia. The song goes: "Como Víctor Jara diciendole a su pueblo: La libertad esta cerca"

• The Peruvian ska band Psicosis mentions Jara in their song Esto es Ska. The chorus goes "Lo dijo Víctor Jara no nos puedes callar".

• Soviet, Byelorussian composer Igor Lutchenok wrote a song In memory of Victor Jara with lyrics by Boris Brusnikov which was first performed in 1974 by Byelorussian singer Victor Vuyachich and later was performed by Byelorussian folk-rock group Pesniary with an arrangement by the late Vladimir Mulyavin. Videos of the songs can be seen here and here.

• The Glasgow/Irish folk group The Wakes included a song called Víctor Jara on their album These Hands in 2008.^[22]

• The San Francisco post-rock band From Monument to Masses samples excerpts from a reading of Jara's poetry on the track Deafening, a song from their 2005 remix album Schools of Thought Contend.

• German singer Hannes Wader published his song Victor Jara on his album Wünsche in 2001.

• Scottish singer/songwriter Bert Jansch had written his Let Me Sing about him.

• Venezuelan singer/songwriter Alí Primera wrote his Canción para los valientes (Song to the courageous ones) about Victor Jara. The song was included in the album of the same name in 1976.

• British musician Marek Black's 2009 CD I Am A Train features the song The Hands of Victor Jara written by Marek Black.

• Scottish Group Simple Minds released an album with the title track called Street Fighting Years dedicated to Victor Jara in 1989.

• Welsh folk singer/songwriter Dafydd Iwan wrote a song called Can Victor Jara (Victor Jara's song) that was released on his 1979 album Bod yn rhydd (Being free). Here are the original Welsh lyrics.

• In 2011, London-based band Melodica, Melody and Me released a track titled Ode to Victor Jara as the B-side to their limited release vinyl single "Come Outside".

• American singer-songwriter Rod MacDonald wrote The Death Of Victor Jara in 1991, with the refrain "the hands of the poet still forever wave." The song is on his "And Then He Woke Up" CD (Gadfly Records); see a May 2011 performance in Norderstedt, Germany. MacDonald met Phil Ochs on the eve of the 1973 concert, and sang for him a song he had just written about the Chilean coup. MacDonald has often introduced The Death Of Victor Jara by saying "I wish I could have played it for Phil."

• American folk icon, the singer-songwriter and performer, Jack Hardy (1947–2011), mentioned Victor Jara in I Ought to Know, a song recorded on the album Omens in 2000. (song lyrics and live performance).

• Finnish punk rocker Pelle Miljoona mentions Victor Jara in his song Se elää.

Theatre work[link]

YONEX[link]

• 1959. Parecido à la Felicidad (Some kind of happiness), Alejandro Sieveking
• 1960. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (assistant director to Pedro de la Barra, founder of ITUCH.) ^[23]
• 1960. La Mandragola, Niccolò Machiavelli
• 1961. La Madre de los Conejos (Mother rabbit), Alejandro Sieveking (assistant director to Agustín Siré)
• 1962. �?nimas de Día Claro (Daylight Spirits), Alejandro Sieveking
• 1963. Caucasian Chalk Circle, Bertold Brecht (assistant director to Atahualpa del Cioppo)
• 1963. Los Invasores (The Intruders), Egon Wolff
• 1963. Dúo (Duet), Raúl Ruiz
• 1963. Parecido à la Felicidad (Some kind of happiness), Alejandro Sieveking (version for Chilean television)
• 1965. La Remolienda, Alejandro Sieveking
• 1965. The Knack, Ann Jellicoe
• 1966. Marat/Sade, Peter Ulrich Weiss (assistant director to William Oliver.) ^[24]
• 1966. La Casa Vieja (The old house), Abelardo Estorino
• 1967. La Remolienda, Alejandro Sieveking (redirects)
• 1967. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (as director)
• 1968. Entertaining Mr. Sloane, Joe Orton
• 1969. Viet Rock, Megan Terry
• 1969. Antigone, Sophocles
• 1972. Directed the ballet and musical homage to Pablo Neruda which coincided with the poets return to Chile after being awarded the Nobel Prize for Literature.

Discography[link]

Studio albums[link]

Live albums[link]

• Víctor Jara en Vivo (1974)
• El Recital (1983)
• Víctor Jara en México, WEA International (1996)
• Habla y Canta en la Habana Cuba, WEA International (2001)
• En Vivo en el Aula Magna de la Universidad de Valparaíso, WEA International (2003)

Compilations[link]

• Te recuerdo Amanda, Fonomusic (1974)
• Vientos del Pueblo, Monitor – U.S. (1976)
• Canto Libre, Monitor (1977)
• An Unfinished Song, Redwood Records (1984)
• Todo Víctor Jara, EMI (1992)
• 20 Años Después, Fonomusic (1992)
• Víctor Jara presente, colección “Haciendo Historia”, Odeon (1997)
• Te Recuerdo, Víctor, Fonomusic (2000)
• Antología Musical, Warner Bros. Records (2001) 2CDs
• 1959-1969 – Víctor Jara, EMI Odeon (2001) 2CDs
• Latin Essential: Victor Jara, (WEA) 2CDs (2003)
• Colección Víctor Jara – Warner Bros. Records (2004) (8CD Box)
• Víctor Jara. Serie de Oro. Grandes Exitos, EMI (2005)

Tribute albums[link]

• An Evening with Salvador Allende, VA - U.S. (1974) ^[25]

• A Víctor Jara, Raímon - Spain (1974)
• Het Recht om in Vrede te Leven, Cornelis Vreeswijk - Nederlands (1977)
• Cornelis sjunger Victor Jara, Rätten till ett eget liv, Cornelis Vreeswijk - Sweden (1979)
• Omaggio a Victor Jara, Ricardo Pecoraro - Italy (1980)
• Quilapayún Canta a Violeta Parra, Víctor Jara y Grandes Maestros Populares, Quilapayún - Chile (1985)
• Konzert für Víctor Jara VA - Germany (1998)
• Inti-illimani performs Victor Jara, Inti-illimani - Chile (1999)
• Conosci Victor Jara?, Daniele Sepe - Italy (2001)
• Tributo a Víctor Jara, VA - Latin America/Spain (2004)
• Tributo Rock a Víctor Jara, VA - Argentina (2005)
• Lonquen: Tributo a Víctor Jara, Francesca Ancarola - Chile (2007)

Documentaries and films[link]

The following are films or documentaries about and/or featuring Víctor Jara:

• El Tigre Saltó y Mató, Pero Morirá…Morirá…. Director: Santiago �?lvarez – Cuba (1973)
• Compañero: Víctor Jara of Chile. Directors: Stanley Foreman/Martin Smith (Documentary) – UK (1974)
• Il Pleut sur Santiago. Director: Helvio Soto – France/Bulgaria (1976)
• Ein April hat 30 Tage. Director: Gunther Scholz - East Germany (1978)
• El Cantor. Director: Dean Reed – East Germany (1978)
• El Derecho de Vivir en Paz. Director: Carmen Luz Parot - Chile (1999)
• Freedom Highway: Songs That Shaped a Century. Director: Philip King – Ireland (2001)
• La Tierra de las 1000 Músicas [Episode 6: La Protesta]. Directors: Luis Miguel González Cruz/Joaquín Luqui – Spain (2005)
• Phil Ochs: There But for Fortune Director: Kenneth Bowser (2010)
• The War On Democracy (English subtitles)

by John Pilger http://vimeo.com/16724719

Notes[link]

References[link]

• Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape, London. ISBN 0-224-01880-9
• Kósichev, Leonard. (1990). La guitarra y el poncho de Víctor Jara. Progress Publishers, Moscow

External links[link]

Biography portal

Wikiquote has a collection of quotations related to: Víctor Jara

Resources in English[link]

• Three chapters from Victor: An Unfinished Song by Joan Jara
• Discography
• Victor Jara: The Martyred Musician of Nueva Cancion Chilena
• Background materials on the Chilean Workers' Movement in the 1970s
• Report of the Chilean National Commission on Truth and Reconciliation
• GDR Poster Art: Víctor Jara
• Victor Jara tabs
• Víctor Jara at Find a Grave
• "Who Killed Victor Jara?", Professor Paul Cantor, Norwalk Community College, Connecticut
• El Cantor at the Internet Movie Database

Resources in Spanish[link]

• Fundación Víctor Jara
• Lyrics of all his Songs
• Discography
• Che, Guía y Ejemplo: - Songs of Víctor Jara dedicated to Che Guevara
• Informe de la Comisión Nacional de Verdad y Reconciliación (Informe Rettig)
• Vientos del Pueblo: Un Homenaje a Víctor Jara