Browsing by Author "Rosin, Jordan"
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- Devising Commedia as an Antiracist Theatre Practice in The Artful TokenRosin, Jordan (2021-08-07)This presentation will recount some of Jordan Rosin's key insights from producing and directing an ensemble-devised Contemporary Commedia adaptation of Goldoni's The Artful Widow with undergraduate students at Virginia Tech, employing a process which combined The Ume Group's Devising Methodology, Liz Lerman's Critical Response Process, Theatrical Intimacy Education-inspired boundary practices, and Nicole Brewer's Antiracist Theatre principles. Major insights revolve around opportunities and limitations of Commedia as an antiracist/anti-oppressive practice, as well as the synergies between consent, harm prevention, Liz Lerman's CRP, Emergent Strategy, and the roles of actor-creator and director-as-facilitator.
- Empowering Actors Through ViewpointsRosin, Jordan (2019-08-10)Whereas many directors who happen to teach devising or movement may be misrepresenting and/or underestimating the full and cross-genre potential of systems like Anne Bogart & Tina Landau’s Viewpoints, thereby unconsciously passing on their own aesthetic preferences to their students and perpetuating a narrow view of the system as innately “avant-garde” or experimental, I will aim to articulate a philosophy of Viewpoints training and education which empowers, rather than manipulates actors, preparing them for devising and performance across a variety of styles, ranging from Clown and Commedia to Realism and the avant-garde. In this 20 minute lecture/demonstration, I aim to expand the audience’s conception of the Viewpoints as a method of actor training (across styles and genres) through a pointed critique of many of the misconceptions and misapplications of the methodology.
- Enacting Lecoq: Movement in Theatre, Cognition, and Life (Book review)Rosin, Jordan (Johns Hopkins University Press, 2021-03-26)
- Ensemble in Action: Elizabeth Streb and the STREB Extreme Action CompanyRosin, Jordan (2018-09-28)This essay is intended to provide an overview and detailed investigation of a contemporary ensemble theatre company which inspires me and whose work I intend to integrate into my own practice-as-research thesis project. In this case, while technically a dance company, STREB provides an excellent portrait of what the human body is capable of achieving (a great concern for those engaged in “physical theatre”) and a unique example of how hierarchy and inquiry can be a part of an ensemble based creative process. The data collection for this project was inspired by classical ethnography. In particular, for this project I employed the methods of observing activities of interest (like rehearsal and day-to-day operations for the company over the course of one week in 2015 and two weeks in 2018), participant observation (as I undertook during their Adult PopAction classes and Kid Action Summer Camp), and semistructured interviews (which I made with over 16 current and in one case former company / staff members).
- Envisioning Resilience through The Ume Group’s Inaugural Online Playback Theatre EventRosin, Jordan (2020-07-24)Theatre across the globe faces difficult choices for how to best connect with their audience while staying safe. Some academic theatre programs produced Zoom performances and/or radio plays in the last few months, professional theatre released past productions on YouTube, artists turned to virtual reality, and still other theatre practitioners debuted new ways of doing live performance. This roundtable discussion / presentation will feature instances of your innovations of performance and practice in the COVID-19 era that have been successful.
- Exploring the Intersection of Clown & Melodrama Through Visions of A Crying GirlRosin, Jordan (2019-08-09)For my MFA thesis at Dell’Arte International, my partner, Cleo DeOrio, and I have set to explore the boundaries and intersections of two distinct stylistic territories: Clown and Melodrama. Through devising an original play entitled Visions of A Crying Girl, we are exploring such questions as “How do we maintain the indelible nature of the Theatrical Clown while telling a Melodramatic story?” Through a process further informed by Viewpoints & Composition, as well as our respective movement specialties in Modern and Butoh Dance, we - over a period of 8 weeks - are currently creating this original performative work, which will premiere at the Dell’Arte MFA thesis festival running May 16 - 26, 2019. As of May 3 - week 7 of our 8 week creative process - we have already discovered extensive overlap between the styles in question and are using the deeply three-dimensional characters and relationships of Melodrama to create circumstances for the clown to be unruly or push back against oppression. In a darker world and with more serious subject matter than your average clown play, we are also discovering a poetic dimension to the theatrical clown, which retains its innate buoyancy, delight, and fondness for the audience, without necessarily being funny. Further findings and deeper conclusions will of course be drawn after the public presentation of the work in May.
- Storytelling on Screen: An Online Playback Theatre Archive and GuidebookRosin, Jordan; Vogel, Heidi Winters; Lebron, Sammy (2021-10-01)
Playback Theatre is a form of community-centered storytelling theater where the audience tells stories, which are then reflected by a company of actors and musicians. Storytelling on Screen: An Online Playback Theatre Archive and Guidebook is an open education resource consisting of a collection of full-length recordings of online Playback Theatre performances, and a 55-page explanatory guidebook. The guidebook, featuring a foreword by Playback Theatre co-founder, Jo Salas, explains the adaptation to online performances and some of the key concepts, roles, and forms involved in online Playback Theatre. The resource as a whole is suitable for a wide range of theatre students in courses such as applied theatre, theatre for social justice, improvisation, theatre appreciation, or acting. The guidebook contains hyperlinks to specific sections of the archive where students can see a given form or concept in action, allowing for a comparison of how different companies approach a given form. If you are an artist, educator, or theatre-maker using this resource, please help us understand your use by filling out this form Table of contents - Frontmatter - Foreword by Jo Salas - Acknowledgments - Editor Biographies - How to Use the Archive and Guidebook - Introduction to the Project I. The Archive - Performance #1 World Playback Theatre: "New Beginnings" - Performance #2 The Ume Group: “Voices in the Stone” at Virginia Tech - Performance #3 Pangea Playback Theatre: “What Now?” II. The Guidebook
What is Playback Theatre? - Roles - Concepts - Forms - Further Reading, Listening, and Viewing Appendix I: Adding to this Archive
Appendix II: Additional Viewing The following performances included in The Archive are linked within The Guidebook and are also available in VTechWorks and YouTube. Performance #1 World Playback Theatre: "New Beginnings"
Full Recording on YouTube Full Recording & Transcript on VTechWorks Performance #2 The Ume Group: “Voices in the Stone” at Virginia Tech
Full Recording on YouTube Full Recording & Transcript on VTechWorks Performance #3 Pangea Playback Theatre: “What Now?”
Full Recording on YouTube Full Recording & Transcript on VTechWorks Publication information ISBN (PDF): 978-1-949373-66-0 Suggested citation
Rosin, Jordan, and Heidi Winters Vogel. 2021. Storytelling on Screen: An Online Playback Theatre Archive and Guidebook. Blacksburg, VA: Virginia Tech Publishing. http://hdl.handle.net/10919/104420. Licensed with CC BY-NC-SA 4.0. https://creativecommons.org/licenses/by-nc-sa/4.0. Peer review
This book and video archive have undergone external peer review. Accessibility statement
Virginia Tech Publishing is committed to making its publications accessible in accordance with the Americans with Disabilities Act of 1990. The PDF of this guide is tagged structurally. Transcriptions for videos included in the archive are available on the left-hand side of this description, and with their respective videos at https://hdl.handle.net/10919/103915, https://hdl.handle.net/10919/103917, and https://hdl.handle.net/10919/103918. Editor biographies
Jordan Rosin (he & they) is a director/choreographer, actor-creator, and researcher/teacher, specializing in applied and ensemble-devised physical theatres. He is a Co-Founder and Co-Artistic Director of the New York City–based physical theatre ensemble, The Ume Group and is a frequent collaborator with the butoh/physical theatre company 連翹奏 Ren Gyo Soh. They hold a BFA in Drama from Syracuse University and an MFA in Ensemble Based Physical Theatre from Dell’Arte International, where their practice-as-research thesis explored the intersection of clown and melodrama. During the creation of this archive and guidebook, Jordan was a 2019–2021 Post-MFA Teaching Fellow in the Department of Theatre and Cinema at Virginia Tech. www.jordanrosin.net / @jordanrosin Heidi Winters Vogel (she/her) is a director, performer, educator, and activist. She is a member of the theater faculty at Wabash College in Indiana, teaching acting, improvisation, dramaturgy, and socially engaged theatre. Heidi co-founded Inside Out Playback Theatre over a decade ago in Virginia and continues to perform with World Playback Theatre, Playback for People, and Thursday Zoomers. Heidi’s work with her students, “Building Participatory Theatre in a Time of COVID” was published in Routledge’s Undergraduate Research in Theatre. She is an accredited Playback Theatre trainer, continues studies in conflict resolution and peacebuilding, and is an associate member of Stage Directors and Choreographers. Heidi serves on the Advisory Council for Playback North America and serves in regional leadership for the Kennedy Center/American College Theatre Festival. wintersvogel@gmail.com Sammy Lebron (he/him) is a student, aspiring actor, and lover of all things involving storytelling. He provided editorial assistance for this volume. As of the fall semester of 2021, Sammy will be entering his fourth and final year at Wabash College. He is currently studying toward a BFA in Theater. He has been cast in several mainstage productions, compiled data for the costume department, interned with companies such as Crossroads Repertory Theatre and the Sugar Creek Players’ Vanity Theatre, and was nominated to compete for the Kennedy Center/American College Theatre Festival’s Irene Ryan Acting Scholarship. Acknowledgments
This work was made possible in part by a commission from the Virginia Tech History Council and funding from the University Libraries at Virginia Tech’s Open Education Initiative Faculty Grant program, Virginia Tech Publishing, and Wabash College’s Theater Department Summer Internship Program. The stories in these performance archives are the property of their tellers. The recordings of them were released by their owners under a Creative Commons Attribution NonCommercial-ShareAlike 4.0 license. Contributing companies
Pangea Playback Theatre
The Ume Group, Jordan Rosin and Keelie Sheridan, Co-Artistic Directors
World Playback Theatre Contributors
Will C., Sarah Monnerat, Rosey, Autumn, Mary Johnson, Dorina Harangus, Cherae Hailey, David B., Jeremie Day-Gilder, Randy Mulder, Matteo, Karen McClain Kiefer, Warren, Kathy, Vicki, Steve Nash, Liza Zagryazhskaya, Sammy, Roberta Gore, LK, Florence Yoo, Felicitator, Rethabile Molatela, Danny, Bernard, Clarissa, Lou van Laake, Moe, Jo Salas, Joan Lipkin, Sheila Donio, Ricardo Pérez González, Andrea Sandoval, Ping, Joe, Federico Mallet, Linda Steuernagel, Joan, Michael, Karen McClain Kiefer, Joerge, J Fox, Paul McIsaac, Agnes, Nir, Rena, Judy Dolmatch, René, Lisa Schrauf, Suri, Joyce Lu, Andrew, Alejandro Bastien, Natasha, Pi, Dorothy, Ben Rivers, Erica, Diana G., Mary Elizabeth Wheeler, Tanya, Marcin, Sinikka, Judy, Debe Edden, Elsa Childs, Erica, Devrim Nicoló Turletti, Kathleen Sills, Sheila Donio, Judy Freed, Diana Greenhut, Roni Alperin, Noha Arafa, Wavey Davey, Fish, Heidi Jablonski, Chris Panzica, Rick Sanford, Thulasi, Tom Tillar, David Vogel (he/him), Katharina Witte, and various others who prefer to remain anonymous and/or whose names appear only in the recordings. Editorial / Production
Cover image: The Race(rs) © 2021, Paul Haesemeyer. CC BY NC SA 4.0
Cover and interior design: Kindred Grey
Managing Editor and layout: Anita Walz - The Ume Group's "Identity"Luna, Jorge; Yokko; Rosin, Jordan; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel (Virginia Tech, 2021-04-11)On April 11, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (www.theumegroup.org), gave a public performance on the theme of “Identity.” This was only their second-ever public performance (and third-ever Playback Theatre performance in general). As part of the group’s commitment to rotating roles and leadership, this was also the first time conducting for the two co-conductors, Yokko & Jorge. Production Credits: Conductors｜Jorge Luna & Yokko Actors / Musicians｜Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Jordan Rosin Producer｜Jordan Rosin Rehearsal Director｜Kaitlyn Samuel Rosin Duration: 1 hr, 24 min Forms Used: Flares｜Fluid Sculpture｜Song & Movement Pair ｜Perspectives ｜3-Part Story｜Narrative V
- The Ume Group's "Voices in the Stone"Rosin, Jordan; Luna, Jorge; Yokko; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel; Douglas, Kate (Virginia Tech, 2021-05-06)On May 6, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (theumegroup.org), gave a commissioned performance for alumni of Virginia Tech’s College of Liberal Arts & Human Sciences as part of the lead-up to the university’s 150 year anniversary celebrations. The performance was sponsored by the Virginia Tech History Council with support from the School of Performing Arts. The performance begins with a soundscape overture featuring a new version of “Tech Triumph” (the Virginia Tech Fight Song composed in 1919 by Wilfred Pete Maddux and Mattie Eppes) adapted for this event by The Ume Group’s Kate Douglas, along with excerpts from the VT Stories Oral History Project (vtstories.org) and other found texts voiced live by the Ume Group actors. Production Credits: Conductor｜Jordan Rosin Musician｜Kate Douglas Actors｜Jorge Luna, Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Yokko Producer / Director｜Jordan Rosin Community Partners｜Robert H. Leonard, VT History Council & the School of Performing Arts; Christina Miller, College of Liberal Arts & Human Sciences; Ren Harman, VT Stories Duration: 1 hr, 18 min Forms Used: Fluid Sculpture｜Perspectives｜ 3-Part Story｜If This Were A Dream｜3-Minute Poem This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420.