New Plays for Young Audiences presents: “Becoming Martin” by Kevin Willmott

Please join us at the Provincetown this weekend!

Celebrating its 21st season, New Plays for Young Audiences will stage rehearsed readings of three new plays exploring migration through a magical travelling band, violence in society, and Martin Luther King Jr’s formative years. These staged readings are presented by NYU Steinhardt’s Educational Theatre program at the historic Provincetown Playhouse from June 9-24, 2018 and are free and open to the public.
New Plays 2018 List of Plays and Reading Dates - Information appears in blog post
Becoming Martin is by noted director, screenwriter, and playwright Kevin Willmott and explores Martin Luther King Jr.’s journey to understand his own feelings and beliefs during his time at Morehouse College (from the age of fifteen). Through his relationship with Dr. Benjamin Mays, Dr. King discovers that a minister can simultaneously debate theology and philosophy while fighting for justice and equality. Chip Miller directs. This play is appropriate for ages 11 and up. Rehearsed readings are on Saturday, June 23 at 7:30 p.m. and Sunday, June 24 at 3 p.m.
All rehearsed readings are in the Provincetown Playhouse. Tickets are FREE. There are no advance reservations. Tickets will be available at the theatre’s box office beginning an hour before each reading.

 

 

The Provincetown Playhouse is located at 133 MacDougal Street, between West 4th and West 3rd streets [Subway: A, C, D, E, F, M (West 4th St.)].

 

New Plays for Young Audiences is supported by The Nancy and Lowell Swortzell Permanent Fund in Educational Theatre and with thanks to NYU Steinhardt’s Department of Music and Performing Arts Professions.

NPYA presents “Fun and Games” by Lois Lowry (6/16 and 6/17)

Please join us at the Provincetown this weekend!

Celebrating its 21st season, New Plays for Young Audiences will stage rehearsed readings of three new plays exploring migration through a magical travelling band, violence in society, and Martin Luther King Jr’s formative years. These staged readings are presented by NYU Steinhardt’s Educational Theatre program at the historic Provincetown Playhouse from June 9-24, 2018 and are free and open to the public.
New Plays 2018 List of Plays and Reading Dates - Information appears in blog post
Fun and Games* is by noted author Lois Lowry and invites its actors and the audience to explore violence in society. Each performance will be different—reflecting the ever-shifting nature of young peoples’ lives—and will uncover uncomfortable aspects of the characters on stage. It’s a thought-provoking performance that will elicit laughter, fear, and sadness and raise questions that will stick around long after the audience leaves the theater. Stan Foote directs. Fun and Games is appropriate for ages 13 and up. This play contains mature themes and content. It may not be suitable for all audiences. Rehearsed readings are on Saturday, June 16 at 7:30 p.m. and Sunday, June 17 at 3 p.m.

 

*formerly titled HOW? 

All rehearsed readings are in the Provincetown Playhouse. Tickets are FREE. There are no advance reservations. Tickets will be available at the theatre’s box office beginning an hour before each reading.

 

 

The Provincetown Playhouse is located at 133 MacDougal Street, between West 4th and West 3rd streets [Subway: A, C, D, E, F, M (West 4th St.)].

 

New Plays for Young Audiences is supported by The Nancy and Lowell Swortzell Permanent Fund in Educational Theatre and with thanks to NYU Steinhardt’s Department of Music and Performing Arts Professions.

NPYA presents “Lucky Petra” by Carl Miller and Christopher Ash

Please join us at the Provincetown this weekend!

 

Celebrating its 21st season, New Plays for Young Audiences will stage rehearsed readings of three new plays exploring migration through a magical travelling band, violence in society, and Martin Luther King Jr’s formative years. These staged readings are presented by NYU Steinhardt’s Educational Theatre program at the historic Provincetown Playhouse from June 9-24, 2018 and are free and open to the public.

 

New Plays 2018 List of Plays and Reading Dates - Information appears in blog post

 

“Lucky Petra: by Carl Miller is a musical coming-of-age story about Petra, a girl who escapes an unhappy childhood locked in a high tower and embarks on a magical journey with a band inspired by travelling music groups such as Balkan Brass bands and Roma/punk mashups. The play features music by Christopher Ash and draws parallels between Petra’s travels and contemporary debates about migration. Tony Graham directs. This piece is appropriate for ages 11 and up. Rehearsed readings are on Saturday, June 9 at 7:30 p.m. and Sunday, June 10 at 3 p.m. 

 

All rehearsed readings are in the Provincetown Playhouse. Tickets are FREE. There are no advance reservations. Tickets will be available at the theatre’s box office beginning an hour before each reading.

 

 

The Provincetown Playhouse is located at 133 MacDougal Street, between West 4th and West 3rd streets [Subway: A, C, D, E, F, M (West 4th St.)].

 

New Plays for Young Audiences is supported by The Nancy and Lowell Swortzell Permanent Fund in Educational Theatre and with thanks to NYU Steinhardt’s Department of Music and Performing Arts Professions.

Five Things I Learned Teaching Creative Drama

and Directing Musical Theatre as a Teaching Artist Intern

By Eric Gelb

“Can I get a drumroll please?”, I would ask. Students would use their hands to drum on the floor. This would lead into the following dialogue – “today’s question of the day is…” and on this day, the question was ’why is musical theatre important to the world?’”

""

Eric Gelb has a conversation with the student performers.

“Musical theatre is important to me because I don’t have a lot of friends at school and when I come here, I feel accepted”, one student said. Another sitting nearby leaned in for a hug. “It doesn’t matter what kind of day you’re having because once you get onstage you get to be another person and live in their world”. Some students “snapped” to show their agreement.*

Doing the “question of the day” warm-up was one of the rewarding parts of my summer as a teaching artist intern at The Rose Theater in Omaha, Nebraska. Working at The Rose was an experience I could never have been perfectly prepared for.

The Rose Theater is committed to enriching the lives of children through theater and arts education, home to the Omaha Theater Company – one of the largest professional children’s theater in the country! Accessible to all, no child is turned away for economic reasons. Live performances are shared from two stages: the main stage and the Hitchcock Theater. Professional actor/educators offer classes in theater, directing, musical theater and more.

As a summer intern, I co-taught creative drama camps and assistant-directed a production of XANADU. With almost 40 hours of contact time with students every week, I had opportunities to lead classes, observe and lead lunch and before/after class activities. Sitting in on weekly education meetings, intern meetings and participating in lesson planning was part of my weekly schedule as an intern to gain a better understanding about how an education department at a professional theatre company works.

“How was Omaha???”, people asked when I returned. “I bet Omaha was like, super different than NYC”, some would say, almost sympathetically. So here are five things I learned…

1. Students will always meet your expectations if you give them the tools to succeed.

When I was assigned XANADU for the summer, it became my goal to make the show GREAT. I purposefully asked students to dig deeper into their roles than I knew they ever have been in the past. My co-workers often reminded me not to push them too hard, that they’re only 13. I was 13 when I co-produced my first musical. I knew they were capable of performing like professionals. And to be clear, performing like a professional doesn’t mean hitting all the notes or acting like Meryl Streep. It’s being a responsible actor and a team player. During the run, I was told by multiple people that the show was “the most prepared show of the summer” or “the best show in a LONG time”. Seeing their faces after opening night and hearing the applause confirmed my theory that we CAN test kids. They can handle it.

2. If you don’t do it, the kids won’t do it.

Teaching creative drama was particularly tricky because it asks students to be silly and LOOK silly in front of their peers. Part of our creative drama courses was spending part of the morning in-role as characters from the story we were studying. Of course we had students who suddenly “had a stomach ache” or “felt sick” as soon as we got in-role. In one class, we were pirates looking for Peter Pan! I didn’t dare step back and watch them act out the story – I was right there with them. If I didn’t join in, I wouldn’t be able to have gotten THEM to do it either.

3. Everyone teaches differently.

I am a tough teacher. I want my students to be the best they can be. When I am in charge, students do not sit out. They do not pass, and they do not skip. Everyone has to attempt or try the activity before they decide they don’t like it. Why? Because this is a theatre. We instill the concept of speaking in front of others, being a team player and taking responsibility. So if I let a student skip because they’re scared, or quit because their team isn’t winning… I’m not letting them learn those lessons. I often say “we don’t quit things because they’re hard”. Not everyone agrees with me – some have a softer, gentler approach. And that’s okay! We all approach students differently.

4. Your lessons will never go as planned.

I spent, probably, at least ten man-hours on the two lesson plans I presented solely by myself in classes at The Rose. I’d say we actually did about 60% of both of them. The truth is, no matter how hard we try, as artists, we can never really accurately estimate how long something is going to take in class. Sometimes inspiration strikes and we think of a fun medication to a game and it takes longer. Sometimes a new game doesn’t land well with the students, and it’s clear that you have to move on earlier than you expected. And that’s okay.

5. Everyone has a story.

No one teaches to be rich. People teach because they simply cannot live if they are not impacting the lives of young people, so those that do choose to work inside of a children’s theatre have some sort of passion for it. The people that work in the costume rental shop, those that work upstairs in accounting and even the teaching artist you may teach with daily – they all have a very heavy tie to the arts. Stopping to listen and hear their stories are fascinating.

In the winter, I will be joining the team at WICKED on Broadway in the stage management department as an intern. Broadway has always been the dream, and although not too similar to the work I did at The Rose, I am POSITIVE I will, probably without knowing it, allow all I learned at The Rose into my work at WICKED, which leads me into bonus number 6 – once you’re a teaching artist, you’ll never shake all you learn.

""

The students perform a scene from one of the musicals.

Eric is a published author; you can buy his book “Growing Up in the Wings” on Amazon at www.bit.ly/GUITWBUY or at the NYU Bookstore. Follow him on Twitter (@DirectorGelb) or visit his website www.bit.ly/ericgelbofficial for more content.

* Answers have been fabricated to be generic and protect students’ identities.

 

Announcing ArtsPraxis Volume 4 Issue 1

Logo for Arts Praxis, Volume 4, Issue 1, 2017

ArtsPraxis Volume 4 Issue  1 has been published.

I am proud to present this new issue of ArtsPraxis, featuring articles in response to the guiding questions and themes established for the NYU Forum on Educational Theatre in April 2016, which included applied theatre, drama in education, and theatre for young audiences. As a number of authors submitted articles under the heading of youth theatre, I curated a stand-alone section for this topic as well as I felt it wise to highlight the breadth of research in this area at this time.

A great asset of the 2016 Forum on Educational Theatre was the degree to which the NYU Program in Educational Theatre was able to reconnect with our global community. In large part, this was due to the efforts of Philip Taylor following his experience at the International Drama in Education Research Institute in Singapore in 2015. Under the direction of Prue Wales, it became evident at that event that even in this time of inescapable electronic connections, there is nothing that can take the place of face-to-face fellowship. Just this week, we are coming off of our latest international conference, the NYU Forum on Ethnodrama, looking at the intersection between theatre art and arts-based research paradigms. After many months of political duress, we communed. We shared art, research, and activism.

In the spirit of maintaining our international dialogue in these troubled times, this issue of ArtsPraxis continues the conversation. Our contributors present scholarship from Africa, Australia, Canada, the United Kingdom, and the United States. I hope that you find this work as inspirational as I have and that you consider joining us next spring at the 2018 NYU Forum on Performance as Activism.

Volume 3, Issue 1 of ArtsPraxis is available for download here.

ArtsPraxis Volume 4, Issue 1

ISSN: 1552-5236

Editorial

JONATHAN JONES

 

Responsivity in Applied Theatre Practitioner Expertise: Introducing Identifying Patterns and Names

KAY HEPPLEWHITE

ABSTRACT

This article outlines a research project investigating the expertise of applied theatre practitioners. Summarising some of the research approaches and findings, a conceptualization of ‘responsivity’ is proposed to encapsulate the blended expertise of those artists that work in community, participatory and applied settings. The ‘practice responsive’ research methodology utilizing ‘reflective dialogues’ with practitioners is explained and the resulting artists’ commentaries are embedded throughout. I outline how reflection and response thread through a conceptualization of applied theatre in literatures, and discuss how these themes informed both the method and the findings of my research. Whilst offering namings for patterns found common to practitioners operating across diverse contexts, the article also acknowledges how naming can close down understanding of the complex operations and qualities of the practitioner. I suggest a theoretical proposition of ‘__’ (underscore) to open up understanding of the workers and the work of applied theatre, in order to allow further insight to their expertise. The proposal concludes by arguing how the practitioners’ developmental response to the work enhances applied theatre’s beneficial objectives for participants.

 

Making Theatre in Communities: A Search for Identify, Coherence, and Cohesion

JOHN SOMERS

ABSTRACT

Traditionally, theatre was created and performed in communities to celebrate religious and other significant aspects of shared community life. Many such customs possessed a quasi-religious identity in which theatre depictions were thought to appease those spiritual forces which controlled the lives and fortunes of mere humans. In the UK and the Western world more generally, the cohesiveness of community life has lessened as families become more self-sufficient. Until relatively recently, rural communities in South West England were dominated by the farming industry. The land of many farms has been merged and the farmhouses sold to relatively well-off incomers. They often operate a self-sufficient life, sending their children to private schools outside the community and engaging in leisure pursuits which take them out of the community in which they live. Thus, community cohesion is weakened and the opportunities for cooperative and communal action lessened. Theatre has the potential to bring disparate members of a community together in common purpose, providing a forum in which new and lasting relationships can be formed. If the dramatised stories have their roots in the identity and history of the community in which they are made, long-term residents have ways of sharing their knowledge with the ‘newcomers’.

 

The Long Game: Progressing the Work from Thesis to Practice

LINDEN WILKINSON

ABSTRACT

This paper discusses the evolution of significant findings made within the context of a doctoral research project and the structures that developed to share these findings through workshops for students and teachers. As the research concerned an 1838 Australian Aboriginal massacre and the construction of a memorial to commemorate this event one hundred and sixty-two years later, the aim of the project was to locate a reconciliation narrative. The project failed to do so, because ultimately in the words of the participants the memorial was seen as a beginning and not an ending.

Nevertheless this understanding did deliver powerful insights into the complex nature of reconciliation within a dominant settler culture. And it was felt that sharing these insights was worth pursuing. 

Central to the doctoral research was the creation of a verbatim theatre play, therefore the workshops relied on drama techniques to establish through affect new ways of knowing shared history. However the execution of the content proved challenging. Because of the way settler history continues to be understood, engagement with the intellect via political correctness as opposed to the imagination was problematic. The necessity of prioritizing the imagination became as much of a learning curve for workshop facilitators as workshop participants.

 

Discovering a Planet of Inclusion: Drama for Life-Skills in Nigeria

KAITLIN O. K. JASKOLSKI

ABSTRACT

This paper explores the on-going development of a Drama for Life-Skills project in Lagos, Nigeria, which embraces aspects of applied & educational theatre practices. Using neurodevelopmental disability assessments and standards, the project creates a simultaneous balance of teaching and learning life skills in the disability community. It focuses on work currently being done with students of the Children’s Development Centre Lagos, incorporating theatre practices into the daily living activities of adolescents with disabilities with the goal of gaining increased life skills. In developing their most recent production, Discovering a Planet of Inclusion, members of the Centre team up with teaching artists, therapists and community members to teach, learn, practice and incorporate life skills with theatrical performances designed for schools and community centers throughout Nigeria.  Company members with disabilities (including autism, cerebral palsy, and various genetic disorders) perform with the hope of showcasing their abilities, ending stigma, and inspiring opportunities for the disability community throughout the nation. The paper will include anecdotes and analyzation from the performance praxis, development of advocacy and vocationally-based theatre performances, and ways to incorporate disability therapies (occupational, physical, multisensory, communication) into theatrical performances. The paper also discusses the importance of inclusion in destigmatizing disability and the cognitive benefits of applied theatre within communities.

 

The Evolution of Monologue as an Education

SCOTT WELSH

ABSTRACT

Performance is social theory, or it can become so, when we use it as a means to understand social phenomena rather than merely viewing it as a spectacle or for entertainment (Brook, 1972). Theatre that explores domestic violence (Welsh, 2014), homelessness (Welsh, 2014) or the plight of refugees (Robinson, 2015) are all examples of dramatic processes  becoming social theory. There are many more examples such as the work of Lloyd Jones or Pina Bausch, both of whom use experimental theatre as a means of educating, understanding and criticising society (Marshall, 2002; Pendergast, 2001). This article explores the relationship between theatre and education in three somewhat diverse contexts. Firstly, the autobiographical monologue, The Outcaste Weakly Poet Stage Show, describes experience in a conversational style. Experience and conversation are inevitably educational, that is, being is learning and listening is learning. Secondly, I explore the practice of monologue writing with a sample group of Australian school students on the subject of social labelling, reinforcing the idea that theatre practice is education by applying it to a classroom setting. Finally, I examine a monologue writing workshop conducted with a group of teachers-in-training, revealing the potential of monologues to foster empathy among teachers and their most difficult students. Theatre then becomes a source of learning and philosophical reflection for audiences, a way of practising social learning in a school setting and increasing emotional intelligence, empathy and communication between teachers in training and their students.

 

Noise as Queer Dramaturgy: Towards a Reflexive Dramaturgy-as-Research Praxis in Devised Theatre for Young Audiences

JESSICA M.  KAUFMAN

ABSTRACT

Dramaturgy is often considered the work of the ‘neutral outside eye’, but in devised theatre, the dramaturg is embedded within. This requires creative solutions for how a devising dramaturg might navigate engagement with the totality of their work—the piece, the devising process, and the context—from their own position within all three. In this article, I will recount and re-examine my work as dramaturg-researcher devising Martha and the Event Horizon. The research inquiry suggests a praxis of dramaturgy-as-research inspired by Home-Cook’s model of noise as a function of attention and Sullivan’s (2003) poststructuralist analysis of queerness as both being and doing, wherein the devising dramaturg embodies the queer doing to take an external perspective on their work via the critical context. Examinations of the devisor’s relationship to spectators by practitioner-researchers Goode (2011) and Reason (2010) respond to the research question and suggest a non-linear model within which the audience experiences meaning through Boenisch’s (2010) reflexive parallax. Placing these research outcomes within Bryon’s (2014) ‘active aesthetic’ and Nelson’s (2013) practice as research model, I propose the dramaturgy-as-research praxis as the key to a rigorous, flexible framework for constructing diverse avenues for meaning-making in devised theatre, particularly applicable to audience-driven work.

 

Children’s Theatre: A Brief Pedagogical Approach

DENNIS ELUYEFA

ABSTRACT

There are several theories as to what constitutes children’s theatre. This diversity exists because the term is used as a literal description of theatre that involves children in one way or the other – theatre for children, theatre with children, and theatre by children. This complexity means there is a need to specify the sense in which the term is being used. There is no universal agreement within academic discourse on the parameters in which the term should be defined. While some scholars suggest age as a defining factor, others think it should be decided by the performers who design a piece of theatre based on their knowledge of the children audience. What is children’s theatre? What should be the level of involvement for children? This paper is not a systematic review of the discipline and it is not an attempt to re/define children’s theatre. Rather, it is about a pedagogical approach to creating a piece of theatre for children between the age of 4 and 10 that can enable them to learn and be morally developed while being entertained at the same time. In this paper children’s theatre is the term that will be used throughout.

 

Feeling Blue: An Investigative Apparatus

CLARE HAMMOOR

ABSTRACT

This auto-ethnographic inquiry explores found and constructed apparatuses in the production of a devised clown show with 3rd-6th grade children at Blue School in New York City. Through a playful negotiation between artifacts, theory, and memory, this essay works to untangle the production of meaning and the possibilities of children’s theatre. Drawing from Agamben’s theorizations of apparatus, Hammoor writes into knowing and understanding the frameworks he built and discovered in directing a sad clown show with children.

 

Participatory Aesthetics: Youth Performance as Encounter

PAMELA BAER

ABSTRACT

In this paper the notion of a participatory aesthetic is developed by exploring how a collaborative and creative process provides opportunities for young people to engage in an act of becoming in relation to one another, building powerful and affective art work that is not bound by the conventions of traditional forms of theatre and art making. The paper begins with a discussion on the role of affect and participation in applied theatre, offering a theoretical framework that is used to analyze two case studies. The first is a project in Accra, Ghana that resulted in a youth-led documentary film about HIV/AIDS and gender relationships. The second is a YouTube based applied theatre project with LGBTQ youth in Toronto, Canada. In both case studies the paper demonstrates the power of dialogue in building a participant driven aesthetic rendering of theatre for social change. The paper concludes stating that a participatory aesthetic is a deeply visceral and vulnerable encounter that builds important pedagogy through affective artistic engagement.

 

From Les Mis to Annie, Jr.: A Discussion of Dramaturgical Adaptation for Musical Theatre in Education and Accessibility of Musical Theatre to Youth

SEAN MAYES

ABSTRACT

As an arts educator, it is inspiring to have access to the spoils of the art of musical theatre to engage and captivate young minds and artistic hearts. In providing an artistic output, one affords both the satisfaction of involvement in a collaborative art coupled with the lasting gift of community and artistic inspiration. Regrettably, the endeavour towards providing an accessible dramatic medium can prove challenging for the best of theatre & music pedagogues and artists alike. Musical theatre becomes increasingly more difficult as both musical and dramatic requirements needed for its execution modify.

With these constraints, youth face obstacles in exploring many works of the genre they love faithfully. As educators, the responsibility in maintaining accessibility is tremendous. Improper attention to the usage of the vocal instrument without regard of these developments can cause irreparable damage. Limited access to works for youth and negligible adaptation risk staleness and disinterest.

How might the educating artist continually provide an accessible medium of musical theatre to the young performer? From a dramatic & musical lens, this paper discusses the responsibility of the educator in identifying and addressing the unique challenges confronting young performers via the art of musical theatre.

——————————-

ArtsPraxis Volume 4, Issue 1 looks to engage members of the global Educational Theatre community in the ongoing dialogue about where we have been and where we are going. This call for papers was released concurrently with ArtsPraxis Volume 3 and the submission deadline for Volume 4, Issue 1 was February 1, 2017.

Dr. Jonathan Jones, New York University
Editor
jonathan.jones@nyu.edu
steinhardt.nyu.edu/music/artspraxis

Editorial Board:

Amy Cordileone, New York University, USA
Norifumi Hida, Toho Gakuen College of Drama and Music, Japan
Byoung-joo Kim, Seoul National University of Education, South Korea
Ross Prior, University of Wolverhampton, UK
Nisha Sajnani, New York University, USA
Daphnie Sicre, Borough of Manhattan Community College, USA
Prudence Wales, Hong Kong Academy for Performing Arts, Hong Kong
James Webb, Bronx Community College, USA

TYA@NYU Update

Jeff Church, Producing Artistic Director of The Coterie in Kansas City, Missouri, “is pleased to be back with New Plays for Young Audiences in the Steinhardt’s terrific Program in Educational Theatre at NYU.”   Jeff directed for NYPA in its very first year (1998) and continued for the next seven years though 2005.  “Lowell Swortzell was leading the summer developmental festival at the time, and he was one of the greats.  One of The Coterie’s most important commissions, The Wrestling Season, by Laurie Brooks, was developed here in 1999,” said Jeff.  Jeff used the NPYA program to work on some experimental scripts as well, such as a transgender-themed play, The 12:07, also by Laurie Brooks.

Jeff Church

Edward Albee, 1928 – 2016

“You’ll read about it in the papers tomorrow, if you don’t see it on your TV tonight.” – Edward Albee has passed away.

On the death of Tony-Award winning playwright Edward Albee, the Program in Educational Theatre salutes this giant of the American Theatre who last spoke at the historic Provincetown Playhouse (now owned and run by NYU) in 2010 just after a multi-million dollar refurbishment. Albee had a long history with the Provincetown, as it was the site of the long running production of his first success, The Zoo Story, in 1960 when it appeared on a double-bill with Samuel Beckett’s Krapp’s Last Tape.

Edward Albee, photographed outside of the Provincetown Playhouse during the run of his play, "The Zoo Story," in 1960

Edward Albee, photographed outside of the Provincetown Playhouse during the run of his play, “The Zoo Story,” in 1960

Video from the 2010 re-opening of the Provincetown Playhouse event, which featured Albee along with Obie Award winner and founder of the Living Theatre Judith Malina, and director of the archives of La Mama Experimental Theater Ozzie Rodriguez, in discussion with Village Voice theatre critic Michael Feingold can be accessed at this NYU News Release.

NYU Forum on Ethnodrama: The Aesthetics of Research and Playmaking / April 21-22, 2017

NYU Forum on Ethnodrama:

The Aesthetics of Research and Playmaking

April 21-22, 2017

Image from Towards the Fear, directed by Joe Salvatore

Join us for next year’s NYU Educational Theatre Forum for a robust conversation about the aesthetics of ethnodrama. How do artist-researchers engage audiences with the presentation of data? Theatre artists and academic researchers will come together to share ideas, vocabularies, and techniques.
Save the dates: April 21 & 22, 2017

If you’re interested in participating, please email Joe Salvatore.

Visit the NYU Forum Website.

** Image from Towards the Fear: An Exploration of Bullying, Social Combat, and Aggression, produced in spring 2014