Podcasts about harvestworks

LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid's practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption and noise. LoVid's work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation.LoVid's process  includes home-made analog synthesizers, hand-cranked code, and tangible materials; their videos, textile works, performances, net-art, installations, and NFTs have been exhibited worldwide for over two decades. LoVid's work has been presented internationally at venues including: Museum of Modern Art (MoMA), Standard Vision X Vellum LA, Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, bitforms Gallery, Honor Fraser Gallery, Unit London, http://Verse.work, http://Expanded.Art, Art Dubai, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, Issue Project Room, The Science Gallery Dublin, The Jewish Museum, The Kitchen, Daejeon Museum, Smack Mellon, Netherland Media Art Institute, New Museum, and ICA London. LoVid's projects have received grants and awards from organizations including: The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, http://Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation.LoVid's videos are distributed by EAI and their work is in the collection of the Whitney Museum, The Museum of Moving Image, The Parrish Museum, Thoma Foundation, Watermill Center, Butler Institute of American Art, Heckscher Museum, NFT Museum of Digital Art, Museum of Nordic Digital Art, and more.

Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. She creates conceptually layered and carefully crafted artworks that explore the sublime complexity of the biological world while unraveling entanglements of natural and built systems. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory experiences. Recent exhibitions have included immersive installations, networked devices, and tactile sculptures. Splan often engages audiences with themes in her work through companion programming, including participatory workshops covering laboratory techniques, specialized software, and textiles methods that she uses in her own studio practice. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Bruges Triennial. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU's Langone Art Collection, and the Berkeley Art Museum. Reviews and articles including her work have appeared in The New York Times, Wired, Discover, designboom, American Craft, and Frieze. Splan's research and residencies have been supported by the Jerome Foundation, Institute for Electronic Arts, Harvestworks, the Knight Foundation, and the Pollock-Krasner Foundation. In this episode, Laura and I discuss where art and science meet, Sticky settings in software and DNA, the relationship between learning and teaching, the presence of sound, early memories of where her art practice began and where it stands now. --- Support this podcast: https://podcasters.spotify.com/pod/show/ongoingness/support

Independent Artist, Monika Weiss, stopped by to speak with Nancy about her exhibition monument|antimonument Nirbhaya. Born in Warsaw, Poland, Monika Weiss arrived to NYC in 2001 as a long-term artist in residence at the Experimental Intermedia Foundation. Since 2011, she divides her time between her studio in New York and her appointment as associate professor at Sam Fox School of Design & Visual Arts, Washington University in St. Louis. ------  She has been awarded numerous grants and residency fellowships, including BRIC, Harvestworks, US Embassy in Poland, New York Foundation for the Arts and YADDO. Recent publications about the artist's work include a chapter in Guy Brett's The Crossing of Innumerable Paths: Essays on Art (London: Ridinghouse, 2019) and a forthcoming bi-lingual monograph Monika Weiss – Nirbhaya published by the Centre for Polish Sculpture in Orońsko / National Institution of Culture, with texts by Griselda Pollock (Leeds University) and Mark McDonald (The Metropolitan Museum of Art), among others. ------    

One Fewer Night in Baghdad by Pedro M. VílloraTranslated from the Spanish by Lina Ferreira Cabeza-VanegasOne Fewer Night in Baghdad is a contemporary take on the story of Scheherazade and the Caliph.One Fewer Night in Baghdad was directed by Sarah Montague and produced by Sarah Montague and Matt Fidler, who also did the audio mixing and sound design. The play was performed by Mahira Kakkar and Arian Moyaed. Readings from The Arabian Nights were provided by Margot Avery, Gregory Bodine, Andrew Joffe, Lisa Beth Kovetz, Karen Michel, and Paul Singleton. Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay. Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble. See acast.com/privacy for privacy and opt-out information.

In this week's episode, Brad Garton interviews composer Taylor Brook and multi-media artist Lara Lewison about Star Maker Fragments, the new album from TAK Ensemble, out 3/3/2021. Lara Lewison creates audiovisual art for the web and for live performance, with a focus in networking, language, and creating live works that are dependent on exchanges between “performer" and “audience." She works with combinations of software and programming languages and has given unity workshops and lessons at Harvestworks, CUNY Tech, and Columbia. She holds a bachelors of arts in music from Columbia University and was the 2020 recipient of the Louis Sudler Prize in the Arts. Taylor Brook writes music for the concert stage, electronic music, music for robotic instruments, as well as music for video, theatre, and dance. He has worked with Ensemble Ascolta, JACK Quartet, Mivos Quartet, Nouvel Ensemble Moderne, Quatuor Bozzini, Talea Ensemble, and others. He has won numerous SOCAN Young Composers awards, including two first-place prizes and the grand prize in 2016 for Song, for solo cello. Brad Garton is an American composer and computer musician who is professor of music at Columbia University. He has written, or helped to write, a number of computer music applications, including Real-Time Cmix, music synthesis and signal processing language for real time composition. Star Maker Fragments: takensemble.bandcamp.com/album/star-m…er-fragments Star Maker World: laar.world/starmaker/ Lara Lewison: laar.world Taylor Brook: Taylorbrook.info Brad Garton: sites.music.columbia.edu/brad

Erin Rogers is a saxophonist and composer based in New York City. Named a “rising star” (Broadway World), her music has been described as “whimsical, theatrical” (Brooklyn Vegan), “a wild ride” (An Earful), and “so complex, it’s primitive.” (Pittsburgh Post-Gazette). She is co-artistic director of thingNY, Popebama, New Thread Saxophone Quartet, and Hypercube, and has performed with the International Contemporary Ensemble, wildUp, and Talea, at Lincoln Center, Carnegie Hall, Kennedy Center Millennium Stage, the Edmonton Fringe Festival, Resonanzraum (Hamburg), Centro Nacional de las Artes Mexico City, and the Park Avenue Armory. Rogers has been featured on the Ecstatic Music Festival, Prototype Festival, MATA Festival, the Elbphilharmonie’s “Unterdeck”, and NYmusikk Bergen, crossing genres from opera-to-theatre-to-installation-to-silence, through collaborations with Orange Theatre, Panoply Performance Lab, wasteLAnd, Harvestworks, yarn|wire, Experiments-in-Opera, Decoder, Contemporaneous, yarn/wire and Music for Contemplation. She can be heard on New Focus Recordings, New World Records, Edition Wandelweiser, and Gold Bolus labels. Her solo album "Dawntreader” is available on Relative Pitch Records. // erinmrogers.com

My guest today is composer Alexandra Garner, who actually never intended to work in music at all. Growing up Alex thought she was going to become an illustrator and draw covers for The New Yorker magazine. Becoming a composer never crossed her mind and she even assumed that composers were just “dead guys in powdered wigs”. It wasn't until she enrolled in an electronic music class during her freshman year of college, that she realized she could make her own sounds from scratch and combine them into anything she wanted. She has been praised as highly lyrical and provocative of thought by the San Francisco classical voice, mesmerizing by the New York times, and her music Regularly performed as the composer in residence of the Seattle Symphony. Links Website: https://alexandragardner.net/ Twitter: https://twitter.com/alexgardner Instagram: https://www.instagram.com/alexgardner/ Email: alex@alexandragardner.net Alexandra's composition "Coyote Turns"  Honesty Pill Links Online Business Accelerator 2.0 six month program Free Resource Library Facebook Group Mailing List About Alexandra Praised as "highly lyrical and provocative of thought" (San Francisco Classical Voice),"mesmerizing" (The New York Times), and "pungently attractive" (The Washington Post), the music of composer Alexandra Gardner (b. 1967) is thrilling audiences and performers alike with a clear, expressive sound and a flair for the imaginative and unexpected. She composes for varied instrumentations and often mixes acoustic instruments with electronics, blending lyricism, rhythmic exploration, textural constructions, and a love of sonic storytelling. Alexandra's compositions are regularly featured at festivals and venues around the world, including the Aspen Music Festival, Beijing Modern Festival, Centro de Cultura Contemporania de Barcelona, Festival Cervantino, Grand Teton Music Festival, The Kennedy Center, The Library of Congress, Merkin Hall, Strathmore Music Center, Symphony Space, and the Warsaw Autumn Festival. As the Seattle Symphony 2017-18 Season Composer-in-Residence, Alexandra spent several months in Seattle for composing and educational projects. Her new symphonic work, Significant Others, was commissioned by SSO and premiered on the orchestra's subscription series under the baton of Music Director Ludovic Morlot. She also led workshops with LGBTQ+ youth affected by homelessness to create a collaborative composition entitled Stay Elevated, which was performed by musicians of the symphony at the Seattle Art Museum, and directed the Merriman Family Young Composers Workshop, leading 10 pre-college students in a 12-week program culminating in a performance of world premieres. Recent projects include Fade for flute and soundtrack, commissioned by the National Flute Association, Hummingbird Dreams, commissioned by Astral Artists for pianist Natalia Kazaryan, and an adaptation of her orchestra work Just Say Yes for a consortium of wind ensembles. Current works in progress include a quartet for Sandbox Percussion and a work for flute, harp, and percussion commissioned by the American Harp Society. Among Alexandra's honors and awards are recognitions from American Composers Forum, ASCAP, Mid-America Arts Alliance, DC Commission for the Arts and Humanities, The National Endowment for the Arts, The Netherland-America Foundation, and the Smithsonian Institution. She is a recipient of the Vassar College W.K. Rose Fellowship in the Creative Arts, a 2018 Rubys Artist Project Grant from the Robert W. Deutsch Foundation, and most recently a 2020 Maryland State Arts Council Individual Artist Award. She has conducted residencies at the Atlantic Center for the Arts, Harvestworks, Liz Lerman Dance Exchange, The MacDowell Colony, and Willapa Bay AiR, and spent two years as a visiting composer at the Institut Universitari de l'Audiovisual in Barcelona, Spain. Her music is recorded on the Innova, Ars Harmonica, and Naxos labels. For the past several years, Alexandra has maintained a private teaching studio and coaching business. She helps composers lead creative and fruitful musical lives through coaching and mentoring, giving masterclasses and workshops, and facilitating dialog and discussion related to artistic career development and the nature of creativity. Alexandra holds degrees from The Peabody Institute of The Johns Hopkins University and Vassar College. She lives in Baltimore, MD with her wife and their very bossy cat Longfellow. For more information, please visit www.alexandragardner.net.

Sarah Rothberg chats with Gabe about her creative process working as a VR and AR artist, her journey from the world of poetry to interactive media art, how she incorporates memory into her immersive environments, and debates the use of "users" vs. "participants."Check out her latest show opening at bitforms gallery, 131 Allen Street, New York, NY 10002. On view February 06 - March 15, 2020.-About Sarah Rothberg-Sarah Rothberg is an interactive media artist who captures the interplay between technology, systems, and the personal, creating meaning through unique and idiosyncratic experiences that encourage new ways of thinking, understanding, and communicating.Sarah's work has been exhibited internationally at venues including Sotheby's S2 gallery, MUTEK festival, Miami Art Week, and bitforms gallery. She teaches new media at NYU's Interactive Media Arts and Interactive Telecommunications Program at Tisch.Sarah is a current member at NEW INC’s Experiments in Arts and Technology track (in partnership with Rhizome.org, funded by Bell Labs) Sarah is a adjunct faculty and a "Human-in-Residence" at NYU working on artistic applications of AR, avatar research, and VR as a tool for performance.In the past, she has been an artist-in-residence at Mana Contemporary, Harvestworks, and LMCC with her collective More&More Unlimited, and was an Engadget Alternate Reality Prize awardee. Currently, she is a featured artist in Apple’s [AR]T initiative, for which she co-created an augmented reality art lab that runs at Apple stores around the world.Learn more about Sarah at https://sarahrothberg.com/Follow Sarah @rothbergrothberg

Laura Splan is a Brooklyn-based artist whose work mines the materiality of science to reveal poetic subjectivities. Her mixed media projects destabilize notions of the presence and absence of bodies evoking the mutability of categories that delineate their status. Splan’s work compels an intimate engagement with detail calling into question how things are made and what they are made of. She reconsiders perceptions and representations of the corporeal with a range of traditional and new media techniques. She often combines the quotidian with the unfamiliar to interrogate cultural constructions of order and disorder, function and dysfunction. Her frequent combinations of textiles with technology challenge values of "the hand" in creative production and question notions of agency and chance in aesthetics. Her recent Embodied Objects series uses biosensors (electromyography, electroencephalography) to create data-driven forms and patterns for digitally fabricated sculptures, weavings and works on paper as well as for movement in performances with sensor-actuated apparatus. Her current solo exhibition, Conformations, combines biotech imagery, networked devices, and artifacts with sculptures made from the hand-spun fiber of laboratory animals. Splan's work has been exhibited at the Museum of Arts & Design and Beall Center for Art + Technology. International audiences for her work have included Iceland, South Korea, England, Germany, Sweden, Austria, and Canada. Her work is included in the collections of the Thoma Art Foundation, the NYU Langone Art Collection, and the Science Center. Her biomedical themed artworks have been commissioned by the Centers for Disease Control Foundation, the Gen Art New Media Art Exhibition and Davidson College. She has received research funding from The Jerome Foundation and her residencies have been supported by the Knight Foundation, the Institute for Electronic Arts, Harvestworks, and the Pollock-Krasner Foundation. She has been a visiting lecturer at Stanford University teaching interdisciplinary courses including “Embodied Interfaces”, “Data as Material” and “Art & Biology”. She is currently a Creative Experiments track member at NEW INC, the New Museum’s cultural incubator. Sound & Vision is sponsored by Golden Paints.

Anaesthesia by Albert OstermaierTranslated from the German by Charlotte CollinsAnaesthesia is a short solo audio play written by acclaimed German author Albert Ostermaier and translated by Charlotte Collins. In Anaesthesia, which was commissioned by the major German theater festival Theatertreffen on the theme of “Decline and Downfall of Western Civilization,” a singer injured in a car accident on her way to a performance struggles to make sense of what is happening to her as an anaesthetic is administered. The play emerges as a stream-of-consciousness monologue which is at once dreamlike, intimate, and tautly constructed.The Play for Voices production of Anaesthesia was performed by Jane Kaczmarek and directed by Sarah Montague. Matt Fidler designed and mixed the audio. Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorAlbert Ostermaier (author), born in 1967 in Munich, is one of Germany’s leading contemporary playwrights. His first play, Zwischen zwei Feuern: Tollertopographie, premiered at the renowned Bayerisches Staatsschauspiel in 1995. That same year, his first major volume of poetry, Herz Vers Sagen, was awarded the PEN Liechtenstein Poetry Prize. Ostermaier is the author of more than thirty plays, which have been performed in major theatres all over Germany and on the radio. He has published numerous volumes of poetry and four novels, and received several prestigious literary prizes, including the Kleist Prize, the Bertolt Brecht Prize, and, in 2011, the Welt Literaturpreis for his literary oeuvre. In 2015, he was inducted into the Bavarian Academy of Fine Arts. Albert Ostermaier has been writer-in-residence and guest professor at institutions including the Bayerisches Staatsschauspiel, the Burgtheater Vienna, Washington University in St. Louis, the City University of New York, and others. He is also the goalkeeper for the German authors' national football team, and a curator for the DFB cultural foundation.Charlotte Collins (translator) studied English Literature at Cambridge University, and worked as an actor and radio journalist in Germany and the UK before becoming a literary translator. She was awarded the Helen and Kurt Wolff Translator's Prize in 2017 for her translation of A Whole Life by the Austrian author Robert Seethaler, which was also shortlisted for the Man Booker International. Charlotte's other translations include Seethaler's The Tobacconist, The End of Loneliness by Benedict Wells, and Homeland by Walter Kempowski, and plays by contemporary German playwrights such as Nino Haratischwili, Sasha Marianna Salzmann, and Angela Richter. See acast.com/privacy for privacy and opt-out information.

It's Cold and It's Getting So Dark by Carmen-Francesca BanciuTranslated from the German by Elena ManciniSet in Berlin shortly after the fall of the Berlin Wall, It's Cold and It's Getting So Dark centers around Deborah, a former radio journalist in the GDR who is dying of cancer. Through a somewhat dreamlike dialogue between Deborah and an unnamed younger female friend, we learn about Deborah’s troubled childhood in East Germany, her failed marriage, and her later heartbreak after her female partner leaves her when she is unable to deal with Deborah’s illness.The Play for Voices production of It's Cold and It's Getting So Dark was directed by Anne Posten. Kevin Ramsay and Kaya Bailey designed and mixed the audio. The role of Speaker 1 was played by Jocelyn Kuritsky, and the role of Speaker 2 (Deborah) by Carol Monda.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorCarmen-Francesca Banciu (author) is the author of five novels, several short story collections, critical essays, and a radio play. Born in Lipova, Romania, she studied religious painting and foreign trade in Bucharest, and began publishing short stories in the 1980s. In 1985, she was awarded the International Short Story Award of the City of Arnsberg for the story “Das strahlende Ghetto” (“The Beaming Ghetto”). Immediately following this award, Banciu was banned from publishing her work in Romania. In 1991, she accepted an invitation extended by the DAAD Berlin Artists-in-Residence program and went to Germany. Since her debut in German, Banciu has established herself as a Berlin-based writer, adopting German as her primary literary language. Banciu first debuted in the German language in 1996, with her memoiristic novel Vaterflucht ("Flight from Father"). Banciu was Writer-in-Residence at Rutgers University from 2004-2005 and University of Bath in 2009. In 2016, Banciu made Loren Kleinmann’s “Most Badass Female Protagonists” list in the Huffington Post. Banciu currently lives in Berlin and works as a freelance author and co-editor/deputy director of the transnational, interdisciplinary, and multilingual e-magazine Levure Littéraire.Elena Mancini (translator) is a German-English and Italian-English literary translator. Her published translations span the genres and include three novels as well as numerous articles of social and political commentary. Mancini holds a Ph.D. in Germanic Languages and Literatures and is a language, literature, and film professor at Queens College in New York City.It's Cold and It's Getting So Dark was the third of the three winners of the 2016 audio drama in translation contest Play for Voices held jointly with Words Without Borders, which published the script of each winning audio play. To read It's Cold and It's Getting So Dark, go here: https://www.wordswithoutborders.org/article/february-2018-radio-drama-its-cold-and-its-getting-so-dark-banci. See acast.com/privacy for privacy and opt-out information.

WONDERLAND is a "master class" in culture change. Podcast hosts Bridgit Antoinette Evans and Tracy Van Slyke apply their experience and perspective from careers spent at the intersection of social justice and entertainment to uncover the truth about the stories we’re telling as a country, on TV, in movies and throughout pop culture mediums. Each episode of WONDERLAND brings together a nationally-recognized social change leader and an acclaimed pop culture innovator for a rare meeting of the minds. Together, they leap 'down the rabbit hole' of curiosity and ideas for intimate conversations that reveal game-changing insights and generate fresh new thinking with the power to create real change in the world.   WONDERLAND is made possible with support from the Nathan Cummings Foundation, Unbound Philanthropy and Pop Culture Collaborative. Hosts & Executive Producers, Bridgit Antoinette Evans and Tracy Van Slyke Producer, Nancy Vitale Editorial Producer, Destry Sibley Sound Engineers, Duff Harris and Alex Thompson Audio Technicians, Corrinne Smith, Kyle Maurisak, and Doug Lins Recorded at The Awareness Group Studios and Harvestworks in New York City Website: Thisiswonderland.us

Please Enter Destination by Tereza Semotamová Translated from the Czech by Barbora RůžičkováA young couple, Helena and Honza, on a weekend drive to visit bourgeois friends, find that their new GPS has a life of its own and their friendly hitchhiker is a devil. Their encounters with these characters, against the backdrop of increasingly absurd radio news updates, reveal the flaws and merits of their relationship and their respective worldviews.The Play for Voices production of Please Enter Destination was directed by Jen Zoble. Wayne Shulmister designed and mixed the audio. The role of Helena was played by Michaela Morton, Honza by Imran Sheikh, Angela the GPS by Carol Monda, and the Radio Announcer and the Devil by Mark Rayment.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorTereza Semotamová (author) is a Czech screenwriter, journalist, radio editor, and translator from the German. She holds a degree in screenwriting and German language and literature, and is a regular contributor to Czech Radio, the country’s national radio company. Tereza has written over a dozen radio plays and edited a number of radio shows focusing on German literature and culture. Her screenplay Tak Dobrou won the Czech edition of the NISI MASA Script Contest.Barbora Růžičková (translator) is a translator and interpreter working between English and Czech. A native Czech, she was brought up in a bilingual environment and spent most of her childhood abroad; today, she is based in Prague, Czech Republic. Barbora holds a degree in translation and art history, and her published literary translations include two books for young adults and a series of excerpts from contemporary Scottish literature. In 2014, she took part in the Martha’s Vineyard Writers Residency program.The Czech song featured in Please Enter Destination is "Včera neděle byla" ("Sunday Was Yesterday"). It can be purchased on iTunes or at https://www.supraphonline.cz/album/231866-legendarni-ceskoslovenske-slagry.Music: Jiří ŠlitrLyrics: Jiří SuchýVoice: Pavlína FilipovskáOrchestra of the Semafor Theatre, directed by Ferdinand Havlík(P) 1960 SUPRAPHON a.s.Recording used with the permission of Supraphon a.s.Please Enter Destination was the second of the three winners of the 2016 audio drama in translation contest Play for Voices held jointly with Words Without Borders, which published the script of each winning audio play. To read Please Enter Destination, go here: https://www.wordswithoutborders.org/article/october-2017-turkish-short-stories-please-enter-destination-semotamova. See acast.com/privacy for privacy and opt-out information.

That Deep Ocean… by Ana Cândida Carneiro Translated from the Italian by Stephen PidcockIn Brazilian-Italian author Ana Cândida Carneiro’s That Deep Ocean…, a two-character audio play written in Italian and translated into English by Stephen Pidcock, a single day in a woman’s life becomes an epic journey of self-discovery. The action shifts between the character’s everyday world, where she's trapped in a dreary job, and an alternative realm, part dreamscape, part subconscious. In that world, she converses—by turns awestruck, challenging, and playful—with an underwater sea creature who presents as a powerful, seductive, masculine presence. She perceives him as a giant squid, but he might also be an aspect of herself. In language that alternates between the poetic and the matter-of-fact, That Deep Ocean... explores questions of identity, love, and death.The Play for Voices production of That Deep Ocean... was directed and co-produced by Sarah Montague and performed by Amanda Quaid and Peter Francis James. Brazilian composer Fernando Arruda provided original music for Matt Fidler’s sound design.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorAna Cândida Carneiro (author) is an award-winning Brazilian-Italian playwright, currently based in the US. Her work has been internationally performed and supported by institutions such as the Royal Court Theater, the Rockefeller Foundation, the National Endowment for the Arts, MacDowell Colony, and Yaddo. She holds a PhD in Theater Studies, focusing on innovative contemporary playwriting techniques. She is currently a Research Associate in the Department of Theater, Dance & Media at Harvard University.Stephen Pidcock (translator) studied English Literature and Italian at St. Andrews University, Scotland, and Verona University, Italy. He currently works as a translator and theatre publicist in London. He collaborated with the Royal Court Theatre reading and reporting on Italian scripts for the International Department from 2009 to 2013.That Deep Ocean... was the first of the three winners of the 2016 audio drama in translation contest Play for Voices held jointly with Words Without Borders, which published the script of each winning audio play. To read That Deep Ocean..., go here: http://www.wordswithoutborders.org/article/september-2017-that-deep-ocean-ana-candida-de-carvalho-carneiro-stephen. See acast.com/privacy for privacy and opt-out information.

I Regret Nothing by Csaba SzékelyPart Two of TwoThe second half of I Regret Nothing picks up the story of retired Romanian secret service officer Dominic Cormoş as he comes face to face with the repercussions of his past and makes a decision that will shape his future and that of his 16-year-old neighbor Liza.In the first half of the play, Dominic was visited by two other characters: Alex Dima, one of Dominic's former subordinates and now a high-ranking agent in the intelligence service, planted a bug in Dominic's apartment and attempted to blackmail him into performing a high-stakes mission. And Liza, Dominic's sixteen-year-old neighbor, turned up asking to use his toilet when her abusive father's daily tirade kept her from her own apartment. An unexpected friendship between Liza and Dominic sprouted from a shared love of dogs.The character of Dominic was played by Paul Valley, Alex by Rob Neill, and Liza by Jocelyn Kuritsky, under Sarah Cameron Sunde’s direction.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the AuthorCsaba Székely was born in 1981 in Târgu Mureș, Romania. He’s a playwright who also writes for television. His first play (Do You Like Banana, Comrades?) won the regional prize for Europe at the BBC’s International Radio Playwriting Competition in 2009. It was also chosen as Drama of the Week by the BBC. A few years later, in 2013, it won the Society of Authors’ Richard Imison Award. Székely has since written a trilogy about country life in Transylvania: Bányavirág (“Mineflower”), Bányavakság (“Mineblindness”), and Bányavíz (“Minewater”), examining issues such as unemployment, alcoholism, nationalism, corruption, and high rates of suicide in the Hungarian population of Transylvania. The trilogy has been published in a volume by the Hungarian publishing house Magvető under the title Bányavidék (“Minelands”). These three plays have been produced in Hungarian, Romanian, and Slovakian theaters. Székely also has written a historical comedy called Vitéz Mihály (“Michael the Brave”) about the rise and fall of a medieval Romanian national hero. This play won first prize in the playwriting competition held by Hungary’s Weöres Sándor Theatre, which also produced it. He has written a musical titled Hogyne, drágám! (“Sure, honey!”), produced by the National Theatre of Târgu Mureș, Romania, as well as a contemporary take on Euripides’ tragedy Alcestis (also produced by the National Theatre of Târgu Mureș). He was one of the scriptwriters for the third season of HBO Hungary’s show Terápia (In Treatment).Part Two of I Regret Nothing features music by the following artists:Grigore Leșe, “Cântă cucu-n Bucovina” http://grigorelese.comFanfare Ciocărlia, "Sandala” http://www.asphalt-tango.de/fanfare/fanfare_ciocarlia.htmlZdob și Zdub, “Goodbye” http://www.zdob-si-zdub.com See acast.com/privacy for privacy and opt-out information.

I Regret Nothing by Csaba SzékelyPart One of TwoIt’s the summer of 2006, and Dominic Cormoş, a retired agent of the Securitate--the notorious secret police of Communist Romania--is living alone in his Transylvania apartment. With media coverage of the prosecutions of ex-Communist law enforcement officials in the background, Dominic is paid two surprise visits that will prove deeply consequential: the first, by Alex Dima, who served under Dominic in the Securitate and is now working in the Romanian Intelligence Service; and the second, by his sixteen-year-old neighbor Liza.The character of Dominic was played by Paul Valley, Alex by Rob Neill, and Liza by Jocelyn Kuritsky, under Sarah Cameron Sunde’s direction.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the AuthorCsaba Székely was born in 1981 in Târgu Mureș, Romania. He’s a playwright who also writes for television. His first play (Do You Like Banana, Comrades?) won the regional prize for Europe at the BBC’s International Radio Playwriting Competition in 2009. It was also chosen as Drama of the Week by the BBC. A few years later, in 2013, it won the Society of Authors’ Richard Imison Award. Székely has since written a trilogy about country life in Transylvania: Bányavirág (“Mineflower”), Bányavakság (“Mineblindness”), and Bányavíz (“Minewater”), examining issues such as unemployment, alcoholism, nationalism, corruption, and high rates of suicide in the Hungarian population of Transylvania. The trilogy has been published in a volume by the Hungarian publishing house Magvető under the title Bányavidék (“Minelands”). These three plays have been produced in Hungarian, Romanian, and Slovakian theaters. Székely also has written a historical comedy called Vitéz Mihály (“Michael the Brave”) about the rise and fall of a medieval Romanian national hero. This play won first prize in the playwriting competition held by Hungary’s Weöres Sándor Theatre, which also produced it. He has written a musical titled Hogyne, drágám! (“Sure, honey!”), produced by the National Theatre of Târgu Mureș, Romania, as well as a contemporary take on Euripides’ tragedy Alcestis (also produced by the National Theatre of Târgu Mureș). He was one of the scriptwriters for the third season of HBO Hungary’s show Terápia (In Treatment).Part One of I Regret Nothing features music by the following artists:Grigore Leșe, "Cântă cucu-n Bucovina" http://grigorelese.com/Jurica Jelić, "Under morning clouds" https://juricajelic.bandcamp.com/Gabi Luncă, “Anii mei şi tinereţea” http://gabiluncaonoriu.ro/Zdob și Zdub, "Mamaligamania" http://www.zdob-si-zdub.com/ See acast.com/privacy for privacy and opt-out information.