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Amiée Gelinas keeps the beat of international percussion in sync with the the pulse of conservation.
PLUS: Kameron Steele directs Federico García Lorca’s “Blood Wedding” at the ’62 Center
The 6th Annual Drum and Dance Fest is a fundraiser for the Tamarack Hollow Nature & Cultural Center’s “Raise the Roof” fund to build a sustainable nature and education center and to conserve 32 acres of highland Boreal forest in Windsor, MA.
6th Annual Drum and Dance Fest
Friday October 16, 2015; 7:30 p.m.
Berkshire Community College’s Boland Theater
SILENT AUCTION in the lobby before, during and after the event
Suggested donation of $10 or more
The Tamarack Hollow Nature & Cultural Center is a 32 acre conservation area and non-profit education center in Windsor, MA adjacent to the Notchview Reservation. At 2000 feet in elevation, this unique and ecologically sensitive forest ecosystem features boreal forest ecology much like the forests of Canada, the Northeast Kingdom, and the Summit of Mt Greylock. Founded in 2007 by naturalist educator/musician Aimee Gelinas M.Ed & artist/musician Daniel Cohen.
Some of the featured performances will include: Mountain River Taiko, Freedom Dance, Chapungu Mbira, Iroko Nuevo Performance Group, Gaia Roots, Forefeather band, The Funk Box Dance Studio, Modig Internal Disciplines, The Pittsfield Youth Alive Step Team, SIFER, Stefanie Lynx Weber, They Dance For Rain, Serenity Circles, Robbins-Zust Family Marionettes, Berkshire Yoga Dance & Fitness
Federico García Lorca’s masterpiece, “Blood Wedding,” as relevant, provocative as ever
“Blood Wedding,” by Federico García Lorca; directed by Kameron Steele
Evenings 10/15–10/17, 7:30 p.m.; Matinée 10/17, 2:30
’62 Center for Theatre and Dance, CenterStage
1000 Main Street, in Williamstown, MA
$3; Box Office;(413) 597-2425
This tragic love-triangle narrative underscores the widespread misfortune that class conflict and a rigid, hierarchical society can produce. Staged in the signature magical-realist style of director Kameron Steele, the production also features an original score for violin, cello, and percussion by Ileana Perez Velazquez. “Rather than try to replicate the Andalusian society,” says Steele, “this production takes advantage of the CenterStage’s unique, flexible structure to focus on the universal appeal of Lorca’s poetry and iconoclastic worldview.”
In our age of globalization, with the gap between the rich and poor growing, and the middle classes, where they exist, under siege, Lorca’s tragedy gives us a chance to explore these global problems through engaging the rifts in our own culture.” There will be a post-performance Q&A after the Friday performance. Thursday, October 15th to Saturday, October 17th, at 7:30 PM, and October 17th at 2:30 pm in the ’62 Center’s CenterStage, located at 1000 Main Street, in Williamstown, MA. Tickets are $3.
After graduating from Northwestern University’s Department of Performance Studies in 1991, Kameron Steele joined Tadashi Suzuki’s company in Toga, Japan where he has since worked as an actor, assistant director, teacher and translator, appearing in King Lear, Waiting for Romeo, Ivanov, Greetings from the Edge of the Earth and Dionysus. From 1998-2007 Mr. Steele also worked at Robert Wilson’s Watermill Center, appearing in Wilson’s touring productions of Persephone, The Days Before, Woyzeck and Prometheus. Past directing credits in the U.S.A. include: AOI! (Japan Society, PRELUDE Festival, PS122), Death in Vacant Lot! (Watermill, LMCC), Mosheh: a videopera, Hanjo, Epona’s Labyrinth, Saudade, (all at HERE Arts Center), The Bacchae (LIU), The Threepenny Opera, Suddenly Last Summer and No Exit (all at CalArts). International credits include Hanjo (Teatro Degollado, Guadalajara; La Bellone, Brussels), Las Bacantes (Teatro Mendoza, Argentina), AOI! (Institut del Teatre, Barcelona) and Opium, co-created with Belgian choreographer Arco Renz and his company, Kobalt Works (STUK, Leuven; Monty, Antwerp; Brakke Grond, Amsterdam). MFA Directing: CalArts.
The Department of Theatre works to develop in each student an understanding of theatre that is both broad and deep. Through creative expression and critical study, we challenge students to engage both contemporary and historical modes of performance. Theatre students make artworks through design, acting, directing, and dramaturgy. They are encouraged to experiment, to risk, and to make bold choices. Working collaboratively with faculty and guest artists, students integrate intellectual, physical, and emotional responses into an array of live performances each academic year.
