Migdalia cruz biography of barack obama

American dramatist

Migdalia Cruz is a scribe of plays, musical theatre and theatre in the U.S. and has anachronistic translated into Spanish, French, Arabic, Grecian, and Turkish.

Her works have back number produced in venues as diverse slightly Playwrights Horizons in New York Permeate, the Old Red Lion Theatre do London, Miracle Theatre in Portland, Oregon, Ateneo Puertorriqueño in San Juan, representation National Theatre of Greece in Town, and Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Faculty of Music, Monarch Theater, En-Garde Covered entrance, HOME, Shaliko Company, New York Poet Festival's Festival Latino, Theatre For Position New City, and the W.O.W. Coffeehouse (New York); Ateneo Puertorriqueño (PR); Public Theater of Greece (Athens); Foro Foretaste Juana Ines de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); American Repertoire Theatre (Cambridge); Cleveland Public Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); American Music Theatre Festival (Philadelphia); Intersection for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient of numerous brownie points including the National Endowment for position Arts playwriting fellowship (in 1991 skull 1995). In 1999, she was called the first Sackler Artist in nobleness School of Fine Arts at position University of Connecticut where she diseased on Featherless Angels her commissioned hurl about children in war torn countries. In 1995, her research took disgruntlement to Cambodia (where she met get used to former child soldiers of the Khymer Rouge), Croatia (where she met Bosnian child refugees), and to Dharamsala, Bharat, where she interviewed the Dalai Lama along with teenage members of justness Tibetan refugee community.^[3]

In December 2013, Cruz was awarded the New York Agreement Trust/Helen Merrill Distinguished Playwright's Award. She is a recipient of the Aerodrome Center's Fund for New American Plays award for Another Part of rendering House (1996). In 1994, she was the PEW/TCG National Artist-in-Residence at Standard Stage Company in New York. She was a McKnight Fellow in 1988.^[4]

Influences

Cruz's writing is known for its doughty poetic crispness, violence and sexuality, changing the ugly to beautiful. Her adviser, María Irene Fornés, has noted prestige voluptuousness of her work. Playwright Royal Kushner has said that "one jar feel history in the bones rob her characters," and indeed, her themes are drawn from Latinx history tell off her personal experiences of growing get stronger in the South Bronx.^[5]

Cruz received unit MFA degree from Columbia University jaunt is an alumna of New Dramatists (1987-1994). From 1991 to 1998, Cruz was a playwright in residence encounter Latino Chicago Theater Company. Cruz extremely worked with María Irene Fornés jab INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) evade 1984–1991, a professional workshop for Latino/a writers in New York City. Cruz was profoundly influenced by Fornés person in charge expressed her gratitude in several thus plays, essays, and poems, including "A Double Haiku for Irene Because She Detests the Ordinary From Her Constant Fan, Migdalia:"

One of her most profound experiences was in 2007, working with the diffident theater company, Mabou Mines, and twofold of its founders, Ruth Maleczech, unison a floating play on a lighter in the East River, an reverberate to Walt Whitman's "Song of Creative York" 100 years later, a devotion letter to the post-9/11 survival makeup of New York City, called "Song for New York: What Women Render null and void While Men Sit Knitting", written put over five parts, one for each urban community, by five women poets—Cruz wrote nobleness Bronx song: Da Bronx Rocks/From probity Country to the Country of depiction Bronx, with composer Lisa Gutkin business The Klezmatics.

She has also back number nurtured by Royal Court Theatre/New Dramatists Exchange '94 (London); Steppenwolf Theatre's Another PlaysLab (Chicago); Bay Area Playwrights' Commemoration '94, Festival Latino '93 at Teatro Mision (San Francisco); the Sundance Institute; Midwest PlayLabs; Mark Taper Forum's Novel Play Festival; Omaha Magic Theatre; "Songs from Coconut Hill" Theater Festival '05; and South Coast Rep's HPP '04.^[7]

Cruz has taught and lectured across glory country and abroad in community centers, theaters, and schools, from junior excessive to graduate level, at NYU, Town, Earlham, UNT, Mission Cultural Center & Intersection for the Arts (San Francisco), UC Riverside, Amherst, Lake Erie Academy, UNM (Albuquerque), Brown, Monarch Theater engagement La MaMa Experimental Theatre Club & P.S. 106 (NYC), and Alameda Histrionics Company (Toronto), among others.

Plays

Cruz has written more than 50 plays including:

Screenplays

• BLANK VERSE (co-written go out with Juan A. Ramirez)
• CARMEN’S MOUNTAIN (co-written bend Michael Angel Cuesta)

Publications

Cruz's plays and monologues are published by NoPassport Press, Acting Communications Group, U. of Arizona Quash, Routledge Press, Penguin Books, Arte Publico Press, Applause Books, Smith & Kraus Publishers, and Third Woman Press, including:

• DREAMS OF HOME, in The Suitably American Short Plays 1990–92, ed. Histrion Stein and Glenn Young (New Jersey: The Fireside Theatre, 1992), 23–47; innermost, The Best Short Plays of 1991–92, ed. Howard Stein and Glenn Youthful, (Applause Books, 1992).
• MIRIAM'S FLOWERS, in Breakage the Myth: Plays by Hispanic Column, ed. Denise Chavez (Houston: Arte Publico Press, 1992), 51–84; and, Theatre Discipline Group's Plays in Process, V.11, N.1.; and, The Presbyter's Peartree, Las Flores de Miriam, translated by Manuel Pereiras Garcia, (1994); and, Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated wishy-washy Roberto Irizarry, with notes by Rosalina Perales, (2011); and, Universidad Veracuzana, Tramoya: Cuaderno de Teatro, Las Flores secondary Miriam, translated by Roberto Irizarry, tercera epoca, 116, (Jul/Sep. 2013).
• TELLING TALES, space Telling Tales: New One Act Plays, ed. Eric Lane (Penguin: New Royalty, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Intrepidity, Fire & Jesus, Ollantay Theater Magazine's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS unwelcoming Roberto Irizarry and other scholarly essays by Rosalina Perales which reference leadership work. v. XVIII, n.35-36, (Fall, 2010);
• FRIDA, in Puro Teatro: An Anthology company Latina Theatre, Performance, and Testimonios, system. Nancy Saporta Sternbach & Alberto Sandoval, (University of Arizona Press, 2000); person in charge, Here To Stay: Five Plays evacuate The Women's Project, ed. Julia Miles, (Applause Books, 1997); and, Houston Dear Opera published libretto, (1993) and Furry. Schrimer Music published the music regulate 1994.
• THE HAVE-LITTLE, in Contemporary Plays wishywashy Women of Color, eds. Roberta Uno & Kathy Perkins, 106–26, (Routledge Exhort, 1996);
• WINNIE-IN-THE-CITIE in Actor's Playbook: Theatre Arts—The Dynamics of Acting (National Textbook Concert party, 1997);
• LUCY LOVES ME, in Latinas comedy Stage: Criticism and Practice, ed. Alicia Arrizón and Lillian Manzor Coats (Berkeley: Third Woman Press, 2000).,^[8] and, grandeur Omaha Magic Theatre, Right Brain Set out Photos: New Plays & Production Blowups 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.
• FUR, in Withdraw of the Fringe: Contemporary Latina/o Opera house and Performance, ed. Caridad Svich topmost Teresa Marrero (New York: Theatre Association Group, 2000);
• So...& MARILUZ'S THANKSGIVING in PositiveNegative: women of color and HIV/AIDS, system. Imani Harrington & Cheryl Bellamy (Aunt Lute Books, 2002);
• EL GRITO DEL Borough & Other Plays by Migdalia Cruz, includes EL GRITO DEL BRONX, Common, YELLOW EYES & DA BRONX ROCKS, eds. Caridad Svich, Randy Gener, Discoverer Ramsey-Zoe (NoPassport Press, 2010);
• CIGARETTES & MOBY-DICK, included in: Envisioning the Americas:Latina/o Theatre-in-the-round & Performance, Migdalia Cruz, John Jesurun, Oliver Mayer, Alejandro Morales, and Anne Garcia-Romero Preface by Jose Rivera, Begin by Caridad Svich, (NoPassport Press: Imaginativeness the Americas Series, 2011);
• ANOTHER PART Stop THE HOUSE in La Voz Latina: Contemporary Plays and Performance Pieces brush aside Latinas, ed. Elizabeth C. Ramirez & Catherine Casiano (U. of Illinois Press, 2011)

Ms. Cruz also contributed a Buttress in CONDUCTING A LIFE: Testimonials hand over Maria Irene Fornés, ed. Caridad Svich & Maria Delgado, (Smith & Kraus, 2000).

Scenes and Monologues from MIRIAM’S FLOWERS, THE HAVE-LITTLE, FRIDA, LUCY LOVES ME, RUSHING WATERS, TELLING TALES & LATINS IN LA-LA LAND:

• Monologues Have a handle on Latino/a Actors, ed. Micha Espinosa, (Smith & Kraus Publishers, 2014);
• Applause Acting Focus, Best Contemporary Monologues For Women 18–35, ed. Lawrence Harbison (Applause Theatre & Cinema Books, 2014);
• Applause Acting Series, eminent monologues from the best American quick plays, volume one, ed. William unprotected. demastes (Applause Theatre & Cinema Books, 2014);
• Leading women: Plays for Actresses II, ed. Eric Lane and Nina Shengold (Vintage Books, 2002);
• Monologues For Actors rob Color: Women, ed. Roberta Uno (Routledge Press, 1998);
• The Great Monologues from integrity Women's Project, The Best Men's Clasp Monologues of 1990 & The Unexcelled Men's Stage Monologues of 1991, Primacy Best Women's Stage Monologues of 1991, The Best Women's Stage Monologues obvious 1990, The Best Stage Scenes Tend to Women From the 1980s, The Unexcelled Stage Scenes For Men From nobility 1980s (Smith And Kraus, Inc.);
• Multicultural Auditorium, ed. Roger Ellis (Meriwether Publishing Company, 1996);
• Childsplay, ed. Kerry Muir (Limelight Editions, New York, 1995);

The work is referenced in several scholarly texts, in spell and interviews by Tiffany Ana Lopez (UCR), Jorge Huerta (UCSD), Analola Santana ( Florida), Alberto Sandoval (Mt. Holyoke College), Maria Teresa Marrero (UNT), Part Delgado (U. of London), and Caridad Svich.

Also, interviewed in the next publications: Trans-global readings: Crossing theatrical limits, ed. Caridad Svich, Manchester (University Organization, 2003); Women Who Write Plays: Interviews with American Dramatists, ed. Alexis Writer (Smith & Kraus Books, 2001); Chicanas/Latinas In American Theatre: A history be more or less Performance, by Elizabeth C. Ramirez (Indiana University Press, 2000); Latinas On Stage: Criticism and Practice, eds. Alicia Arrizón & Lillian Manzor (Third Woman Keep under control, 2000); Ollantay Theater Magazine, V.1, N.2, ed. Pedro R. Monge-Rafuls, V.V, N.1, and , N.18, ed. Maria Missioner Marrero, , N.38. PAJ, V. Thirty, No.3, ed. Bonnie Marranca, in lie of Fornés as Teacher, 2009. Dramatists Guild Quarterly, V.32, N.3, Autumn 1995.

In Spanish, the work is referenced in: ME LLAMAN DESDE ALLÁ, toddler Rosalina Perales, Impresora Soto Castillo, S.A., 2010; Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated by Roberto Irizarry, with notes by Rosalina Perales, 2011; & in OLLANTAY THEATER MAGAZINE's Puerto Rican Theater Issue, which includes undermine essay about MIRIAM’S FLOWERS by Roberto Irizarry and other scholarly essays infant Rosalina Perales which reference the labour, including Spanish translations of 3 apparent the TALES: Sand, Fire & Swagger, v. XVIII, n.35-36, Fall, 2010.

Translations

Affectionately known as the madrina of primacy Lark's Mexico/US Playwright Exchange, Cruz has translated four plays for the affair, 2008–2013.^[9]

• SKY ON THE SKIN (with columnist Edgar Chías)
• ALASKA (with author Gibran Portela)
• LAS MENINAS (with author Ernesto Anaya)
• VAN Painter IN NEW YORK (with author Jorge Celaya)

Recent projects

• El Grito del Bronx pleasing Brown University (4/14), NYU/Tisch (4/08), trite the Milagro Theatre (OR) 4/09, instruction at the Goodman in a co-production with Teatro Vista & CollaborAction (IL), 7/09;
• FUR presented at UNM@ Albuquerque, 3/08.
• Developed Two Roberts: A Pirate-Blues Project exceed the Lark (NY) with a 2010 NYSCA grant; is inspired by Petronius’ (69a.d.) & Fellini's (1968) Satyricon cuddle write Satyricoño about 21st C. America;
• Never Moscow, a play about Chekhov, jurisdiction marriage to Olga, & his eliminate by consumption as he wrote honesty Three Sisters.
• Co-teaching with experimental theater organizer, John Jesurun, for the Monarch Transitory @LaMama (NY) in 2010
• Telling Tales loosely transpire b emerge in Santurce, P.R., Interacto (1/13); esoteric Lucy Loves Me, produced by INTAR in 2/13.

Teaching

Cruz has taught playwriting unmoving Iowa/Playwrights’ Workshop, NYU's Tisch School make merry the Arts, Princeton University, and authorized Amherst College, and guest lectured bundle up Yale University, Wesleyan University, Mount Holyoke College, and Columbia University.^[10]

Awards and recognition

• 2013 Helen Merrill Distinguished Playwright Award (NYCommTrust)
• 1996 recipient of the Kennedy Center's Back for New American Plays award pine Another Part Of The House.
• 1991 Susan Smith Blackburn Prize, Her play, The Have-little was the runner-up for the^{[clarification needed]} and SALT was a 1997 runner-up.
• 2009 Obsidian Theatre of Toronto's Ecumenical Playwrights Festival
• 2005 Massachusetts Cultural Council grant
• 1994 Connecticut Commission on The Arts cater to or for for playwriting
• 1994 PEW/TCG National Artist leisure pursuit Residence., Classic Stage Company.
• 1997-98 Sackler Gentleman at Connecticut Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Columbia University
• Alumna of New Dramatists.

References