阿拉贝拉·本杰明（CFA ' 25） as Desdemona (left) 和 Lana Breheney (CFA’25) as 伊米莉亚 in CFA’s 苔丝狄蒙娜一出澳门威尼斯人注册手帕的戏， which runs at the Joan & Edgar Booth 剧院 April 16 to 19.

剧院

忘记“Barbenheimer。” 试着“Desdemilia。”

CFA plays 苔丝狄蒙娜一出澳门威尼斯人注册手帕的戏 和 伊米莉亚 take on women 和 Shakespeare on the same set at the Booth 剧院

美术学院戏剧学院这个月的词汇是“Desdemilia”。

It’s a portmanteau combining the titles 苔丝狄蒙娜一出澳门威尼斯人注册手帕的戏， 和 爱米利娅, the school’s spring productions at the Joan & Edgar Booth 剧院. The two plays are linked by connections to Shakespeare 和 an exploration of women’s roles—和 they even share a set.

“Everyone on both of the teams has been working together on the vision of this since last November,” says Taylor Stark (CFA’25), who directs 伊米莉亚. “Some of the first conversations we had were about themes that feel like they’re overlapping in the two stories, so we could start to build a space that felt like it would work for both stories.”

苔丝狄蒙娜一出澳门威尼斯人注册手帕的戏, by Paula Vogel, directed by Grant Sorenson (CFA’25), runs Wednesday, April 16, through Saturday, April 19. 伊米莉亚, 由摩根·劳埃德·马尔科姆（Morgan Lloyd Malcolm）主办，4月25日至27日举行。

Vogel’s 苔丝狄蒙娜 brings a whole new attitude to the wife of Shakespeare’s 《奥赛罗》. Malcolm’s 伊米莉亚 focuses on 伊米莉亚 Bassano, a female poet 和 contemporary of Shakespeare who may have been the “Dark Lady” of his sonnets, yet has been largely overlooked by history. T在这里’s even a character named 伊米莉亚 in 《奥赛罗》; she also appears in 苔丝狄蒙娜.

“We’re trying to find more ways of making connections between the pieces that we do,” says 克里斯汀•Greenidge, a CFA associate professor 和 director of the School of 剧院. “We’re helping those conversations to happen for audiences 和 also for students.”

The two productions feature all-female casts, following the all-male production of Terrence McNally’s 科珀斯克里斯蒂 earlier this month at Studio One. 索伦森和斯塔克一样是艺术硕士导演项目的学生，他说：“戏剧所要求的是你如何表现它们，这是非常不同的。” 苔丝狄蒙娜 有3名演员，在一天的时间里在一个地方发生； 伊米莉亚 这部电影有13位演员，故事发生在许多年的多个地点。

索伦森说：“我的剧本实际上是澳门威尼斯人注册三个女人，她们在一个非常男性化的世界里非常孤立。 “They’re on this isl和, very far away from Venice, which is w在这里 they are from. 所以实际上，拥有一个非常大的空间感觉就像把舞台上的这三个人有效地隔离开来，对讲故事很有帮助。”

作为沃格尔的忠实粉丝，索伦森为剧组安排了一次与这位普利策奖和托尼奖获奖剧作家的通话。

斯塔克面临着不同的挑战。 “For me, I’m like, w在这里 am I going to put all 13 of these people, especially when they’re not in the scene? Because we also have a lot of scenes that are just 2 people, 3 people, 和 then you have 10 other bodies, 和 in our case, the bodies don’t really ever leave the space, because t在这里’s no backstage. So I think that’ll be an exciting thing for both of the plays—to see how we use this space differently.”

Desdemilia 索伦森说，这里也充满了音乐，有时会受到一种摇滚音乐会美学的驱动。 

“该剧创作于90年代，所以我们从90年代的Riot Grrrl运动中获得了很多灵感。 朋克场景的开始，以及从90年代至今的摇滚和流行音乐会，对我们来说都是鼓舞人心的，尤其是女歌手和女词曲作者，”他说。

她说，两部作品都混合了当代和那个时代的服装。 “我们的两位服装设计师都在打造一个利用伊丽莎白时代英国轮廓的世界，但又带有非常现代的色彩； 绝对是经典风格，但背景设定在现代。 还有音乐。 我们有很多带有俱乐部节奏的古典音乐，或者是当代歌曲的经典改编。”

The design team on 苔丝狄蒙娜 consists of Jacklyn Cinnamon (CFA’25), scenic designer; 霍普·德贝利厄斯（CFA ' 25），照明； 罗里·谢伊（CFA ' 26），声音； 安吉拉·张（CFA ' 28）负责服装。 The 伊米莉亚 team is Si Shen (CFA’26), scenic designer; Zachary Connell (CFA ' 25)，照明； Mackenzie Adamick (CFA ' 24)，声音； 服装设计师Sydney Hovasse （CFA ' 25）。

Although the two productions have been rehearsing in adjoining rooms at CFA before 苔丝狄蒙娜 recently moved over to the Booth, interaction has been limited. 但思维绝对是平行的。

“I think it’ll be really exciting to have these two plays back to back because they’re completely different stories 和 storytelling, but kind of a similar vibe,” says 阿拉贝拉·本杰明（CFA ' 25）, an acting undergrad who plays the title character in 苔丝狄蒙娜. “Paula Vogel creates a world in which you only see three women on stage, but the way that they interact is based on the world that they’re in, 和 that has been created by the men in their lives.

“While you never see the men, you’re constantly hearing about their husb和s 和 the men that they’ve interacted with,” she says. “所以，虽然我认为你可以把苔丝狄蒙娜读成一个残忍的恶棍，但我认为最终的恶棍是父权制，这是我想要破解的难题。”

In 爱米利娅, Christian Donnerson (CFA’25), a theatre arts undergrad, plays one of the play’s three 伊米莉亚s at different stages of life.

“Factually, t在这里’s not a lot written about her, 和 the people who were writing about her have some biases 和 they existed in a particular time,” Donnerson says. “I think what’s cool about this story is that we get to reclaim what 伊米莉亚 was 和 who she was—和 she’s not just one person. And t在这里 are many female authors 和 artists 和 visionaries who existed before her that we just don’t have notated 和 recorded. That’s kind of the thesis of the story.”

格林尼治说，《苔丝狄米莉亚》——最初是由她的前任苏珊·米奇构思的——是戏剧学院的一次实验。It’s not really in repertory, but it definitely borrows from the rep idea. I think we’re looking at it as a test case for next year 和 seasons to come, w在这里 our productions can share resources 和 more.

“我认为，在明年的计划中，也会有一些这样的连接点。 And it’s fun to throw more things in front of the students, right?屡获殊荣的剧作家格林尼治说。 “作为一名学生，你可能会觉得这很有挑战性。 我希望这是对bfa和mfa的教育的一部分，这是一个他们有能力应对的挑战。”

苔丝狄蒙娜一出澳门威尼斯人注册手帕的戏由宝拉·沃格尔（Paula Vogel）执导，格兰特·索伦森（Grant Sorenson） （CFA ' 25）执导，将于4月16日（周三）至4月19日（周六）放映。 伊米莉亚由摩根·劳埃德·马尔科姆（Morgan Lloyd Malcolm）执导的展览将从4月25日（周五）持续到4月27日（周日）。 在链接上购买门票。 查找学生、教职员工、校友和非波士顿大学学生的折扣代码 在这里.