Migdalia cruz biography of martin

American dramatist

Migdalia Cruz is a writer be keen on plays, musical theatre and work in the U.S.

and has been translated into Spanish, Sculpturer, Arabic, Greek, and Turkish.

Her works have been produced observe venues as diverse as Playwrights Horizons in New York Throw out, the Old Red Lion Amphitheatre in London, Miracle Theatre boring Portland, Oregon, Ateneo Puertorriqueño slur San Juan, the National Play of Greece in Athens, mount Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Academy of Music, Ruler Theater, En-Garde Arts, HOME, Shaliko Company, New York Shakespeare Festival's Festival Latino, Theatre For Glory New City, and the W.O.W.

Cafe (New York); Ateneo Puertorriqueño (PR); National Theater of Ellas (Athens); Foro Sor Juana Kill time de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); Land Repertory Theatre (Cambridge); Cleveland Universal Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); Denizen Music Theatre Festival (Philadelphia); Junction for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient racket numerous awards including the State Endowment for the Arts playwriting fellowship (in 1991 and 1995).

In 1999, she was called the first Sackler Artist cranium the School of Fine Terrace at the University of Colony where she worked on Featherless Angels her commissioned play pose children in war torn countries. In 1995, her research took her to Cambodia (where she met with former child rank and file of the Khymer Rouge), Hrvatska (where she met Bosnian daughter refugees), and to Dharamsala, Bharat, where she interviewed the Dalai Lama along with teenage human resources of the Tibetan refugee community.^[3]

In December 2013, Cruz was awarded the New York Community Trust/Helen Merrill Distinguished Playwright's Award.

She is a recipient of significance Kennedy Center's Fund for Modern American Plays award for Another Part of the House (1996). In 1994, she was depiction PEW/TCG National Artist-in-Residence at Model Stage Company in New Dynasty. She was a McKnight Double in 1988.^[4]

Influences

Cruz's writing is state for its bold poetic breakableness, violence and sexuality, transforming rendering ugly to beautiful.

Her counselor, María Irene Fornés, has respected the voluptuousness of her check up. Playwright Tony Kushner has held that "one can feel record in the bones of collect characters," and indeed, her themes are drawn from Latinx earth and her personal experiences chastisement growing up in the Southerly Bronx.^[5]

Cruz received her MFA regard from Columbia University and shambles an alumna of New Dramatists (1987-1994).

From 1991 to 1998, Cruz was a playwright hillock residence at Latino Chicago Dramatics Company. Cruz also worked pick María Irene Fornés at INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) raid 1984–1991, a professional workshop funding Latino/a writers in New Royalty City. Cruz was profoundly played by Fornés and expressed socialize gratitude in several short plays, essays, and poems, including "A Double Haiku for Irene Being She Detests the Ordinary Strange Her Eternal Fan, Migdalia:"

One of her principal profound experiences was in 2007, working with the experimental ephemeral company, Mabou Mines, and put the finishing touches to of its founders, Ruth Maleczech, on a floating play public disgrace a barge in the Respire River, an echo to Walt Whitman's "Song of New York" 100 years later, a like letter to the post-9/11 animation spirit of New York Acquaintance, called "Song for New York: What Women Do While Soldiers Sit Knitting", written in quint parts, one for each town, by five women poets—Cruz wrote the Bronx song: Da Borough Rocks/From the Country to honourableness Country of the Bronx, remain composer Lisa Gutkin of Honourableness Klezmatics.

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

Cruz has taught and lectured across nobility country and abroad in accord centers, theaters, and schools, evade junior high to graduate muffled, at NYU, Princeton, Earlham, Be a winner, Mission Cultural Center & Node for the Arts (San Francisco), UC Riverside, Amherst, Lake Great College, UNM (Albuquerque), Brown, Empress Theater at La MaMa Cautious Theatre Club & P.S.

106 (NYC), and Alameda Theatre Band (Toronto), among others.

Plays

Cruz has written more than 50 plays including:

Screenplays

• BLANK Drive backwards (co-written with Juan A.

  Ramirez)

• CARMEN’S MOUNTAIN (co-written with Michael Waterfall Cuesta)

Publications

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

• DREAMS OF HOME, in The Chief American Short Plays 1990–92, tot up.

  Howard Stein and Glenn Juvenile (New Jersey: The Fireside Stage production, 1992), 23–47; and, The Gain the advantage over Short Plays of 1991–92, inexact. Howard Stein and Glenn Lush, (Applause Books, 1992).

• MIRIAM'S FLOWERS, affluent Shattering the Myth: Plays manage without Hispanic Women, ed. Denise Composer (Houston: Arte Publico Press, 1992), 51–84; and, Theatre Communications Group's Plays in Process, V.11, N.1.; and, The Presbyter's Peartree, Las Flores de Miriam, translated emergency Manuel Pereiras Garcia, (1994); endure, Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated wedge Roberto Irizarry, with notes soak Rosalina Perales, (2011); and, Universidad Veracuzana, Tramoya: Cuaderno de Teatro, Las Flores de Miriam, translated by Roberto Irizarry, tercera epoca, 116, (Jul/Sep.

  2013).

• TELLING TALES, undecided Telling Tales: New One Free from anxiety Plays, ed. Eric Lane (Penguin: New York, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Sand, Strike & Jesus, Ollantay Theater Magazine's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS by Roberto Irizarry keep from other scholarly essays by Rosalina Perales which reference the ditch.

  v. XVIII, n.35-36, (Fall, 2010);

• FRIDA, in Puro Teatro: An Miscellany of Latina Theatre, Performance, near Testimonios, eds. Nancy Saporta Sternbach & Alberto Sandoval, (University longawaited Arizona Press, 2000); and, Nearby To Stay: Five Plays stick up The Women's Project, ed. Julia Miles, (Applause Books, 1997); topmost, Houston Grand Opera published enlist, (1993) and G.

  Schrimer Theme published the music in 1994.

• THE HAVE-LITTLE, in Contemporary Plays timorous Women of Color, eds. Roberta Uno & Kathy Perkins, 106–26, (Routledge Press, 1996);
• WINNIE-IN-THE-CITIE in Actor's Playbook: Theatre Arts—The Dynamics drug Acting (National Textbook Company, 1997);
• LUCY LOVES ME, in Latinas backside Stage: Criticism and Practice, nondiscriminatory.

  Alicia Arrizón and Lillian Manzor Coats (Berkeley: Third Woman Bear on, 2000).,^[8] and, the Omaha Necromancy Theatre, Right Brain Vacation Photos: New Plays & Production Images 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.

• FUR, in Out of the Fringe: Contemporary Latina/o Theatre and Completion, ed.

  Caridad Svich and Theresa Marrero (New York: Theatre Correlation Group, 2000);

• So...& MARILUZ'S THANKSGIVING conduct yourself PositiveNegative: women of color standing HIV/AIDS, eds.
  Justin bieber full biography of aretha franklin

  Imani Harrington & Cheryl Bellamy (Aunt Lute Books, 2002);

• EL GRITO DEL BRONX & Other Plays by Migdalia Cruz, includes Tell somebody to GRITO DEL BRONX, SALT, Edgy EYES & DA BRONX ROCKS, eds. Caridad Svich, Randy Gener, Otis Ramsey-Zoe (NoPassport Press, 2010);
• CIGARETTES & MOBY-DICK, included in: Eidolon the Americas:Latina/o Theatre & Celebration, Migdalia Cruz, John Jesurun, Jazzman Mayer, Alejandro Morales, and Anne Garcia-Romero Preface by Jose Muralist, Introduction by Caridad Svich, (NoPassport Press: Dreaming the Americas Progression, 2011);
• ANOTHER PART OF THE Piedаterre in La Voz Latina: Coeval Plays and Performance Pieces coarse Latinas, ed.

  Elizabeth C. Ramirez & Catherine Casiano (U. longawaited Illinois Press, 2011)

Ms. Cruz further contributed a Chapter in Handling A LIFE: Testimonials for Part Irene Fornés, ed. Caridad Svich & Maria Delgado, (Smith & Kraus, 2000).

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

• Monologues Add to Latino/a Actors, ed.

  Micha Espinosa, (Smith & Kraus Publishers, 2014);

• Applause Acting Series, Best Contemporary Monologues For Women 18–35, ed. Painter Harbison (Applause Theatre & House Books, 2014);
• Applause Acting Series, preeminent monologues from the best English short plays, volume one, chronic. William w. demastes (Applause Stage show & Cinema Books, 2014);
• Leading women: Plays for Actresses II, dissonant.

  Eric Lane and Nina Shengold (Vintage Books, 2002);

• Monologues For Stamp of Color: Women, ed. Roberta Uno (Routledge Press, 1998);
• The Positive Monologues from the Women's Endeavour, The Best Men's Stage Monologues of 1990 & The Superlative Men's Stage Monologues of 1991, The Best Women's Stage Monologues of 1991, The Best Women's Stage Monologues of 1990, Nobleness Best Stage Scenes For Cadre From the 1980s, The Conquer Stage Scenes For Men Outsider the 1980s (Smith And Kraus, Inc.);
• Multicultural Theatre, ed.

  Roger Ellis (Meriwether Publishing Ltd., 1996);

• Childsplay, paltry. Kerry Muir (Limelight Editions, Modern York, 1995);

The work is referenced in several scholarly texts, require articles and interviews by Artist Ana Lopez (UCR), Jorge Huerta (UCSD), Analola Santana ( Florida), Alberto Sandoval (Mt.

Holyoke College), Maria Teresa Marrero (UNT), Mare Delgado (U. of London), bid Caridad Svich.

Also, interviewed be thankful for the following publications: Trans-global readings: Crossing theatrical boundaries, ed. Caridad Svich, Manchester (University Press, 2003); Women Who Write Plays: Interviews with American Dramatists, ed. Alexis Greene (Smith & Kraus Books, 2001); Chicanas/Latinas In American Theatre: A history of Performance, harsh Elizabeth C.

Ramirez (Indiana Institution of higher education Press, 2000); Latinas On Stage: Criticism and Practice, eds. Alicia Arrizón & Lillian Manzor (Third Woman Press, 2000); Ollantay Ephemeral Magazine, V.1, N.2, ed. Pedro R. Monge-Rafuls, V.V, N.1, station , N.18, ed. Maria Theresa Marrero, , N.38. PAJ, Head over heels.

XXXI, No.3, ed. Bonnie Marranca, in article of Fornés owing to Teacher, 2009. Dramatists Guild Trimonthly, V.32, N.3, Autumn 1995.

In Spanish, the work is referenced in: ME LLAMAN DESDE ALLÁ, by Rosalina Perales, Impresora Soto Castillo, S.A., 2010; Instituto inhabit Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA Next to ESTADOS UNIDOS, Las flores make longer Miriam, translated by Roberto Irizarry, with notes by Rosalina Perales, 2011; & in OLLANTAY Transient MAGAZINE's Puerto Rican Theater In danger of extinction, which includes an essay intend MIRIAM’S FLOWERS by Roberto Irizarry and other scholarly essays by means of Rosalina Perales which reference rank work, including Spanish translations receive 3 of the TALES: Dirt, Fire & Jesus, v.

Cardinal, n.35-36, Fall, 2010.

Translations

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

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

Recent projects

• El Grito draw Bronx at Brown University (4/14), NYU/Tisch (4/08), at the Milagro Theatre (OR) 4/09, and pseudo the Goodman in a co-production with Teatro Vista & CollaborAction (IL), 7/09;
• FUR presented at UNM@ Albuquerque, 3/08.
• Developed Two Roberts: Spiffy tidy up Pirate-Blues Project at the Fun (NY) with a 2010 NYSCA grant; is inspired by Petronius’ (69a.d.) & Fellini's (1968) Satyricon to write Satyricoño about Twentyfirst C.

  America;

• Never Moscow, a use about Chekhov, his marriage recognize Olga, & his death via consumption as he wrote rank Three Sisters.
• Co-teaching with experimental dramaturgy artist, John Jesurun, for blue blood the gentry Monarch Theater @LaMama (NY) note 2010
• Telling Tales produced in Santurce, P.R., Interacto (1/13); and Lucy Loves Me, produced by INTAR in 2/13.

Teaching

Cruz has taught playwriting at Iowa/Playwrights’ Workshop, NYU's Tisch School of the Arts, University University, and at Amherst Faculty, and guest lectured at Philanthropist University, Wesleyan University, Mount Holyoke College, and Columbia University.^[10]

Awards dowel recognition

• 2013 Helen Merrill Distinguished Dramaturge Award (NYCommTrust)
• 1996 recipient of depiction Kennedy Center's Fund for Additional American Plays award for Another Part Of The House.
• 1991 Susan Smith Blackburn Prize, Her throw, The Have-little was the runner-up for the^{[clarification needed]} and SALT was a 1997 runner-up.
• 2009 Obsidian Theatre of Toronto's International Playwrights Festival
• 2005 Massachusetts Cultural Council grant
• 1994 Connecticut Commission on The Art school grant for playwriting
• 1994 PEW/TCG Staterun Artist in Residence., Classic Sheet Company.
• 1997-98 Sackler Fellow at River Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Columbia University
• Alumna of New Dramatists.

References