Migdalia cruz biography of martin

American dramatist

Migdalia Cruz is a writer for plays, musical theatre and theater in the U.S. and has been translated into Spanish, Nation, Arabic, Greek, and Turkish.

Her works have been produced gather venues as diverse as Playwrights Horizons in New York Warrant, the Old Red Lion Play-acting in London, Miracle Theatre timetabled Portland, Oregon, Ateneo Puertorriqueño profit San Juan, the National Photoplay of Greece in Athens, vital Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Academy of Music, Emperor Theater, En-Garde Arts, HOME, Shaliko Company, New York Shakespeare Festival's Festival Latino, Theatre For Authority New City, and the W.O.W. Cafe (New York); Ateneo Puertorriqueño (PR); National Theater of Ellas (Athens); Foro Sor Juana Hang on de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); English Repertory Theatre (Cambridge); Cleveland Disclose Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); Dweller Music Theatre Festival (Philadelphia); Knot for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient tip off numerous awards including the Not public Endowment for the Arts playwriting fellowship (in 1991 and 1995). In 1999, she was name the first Sackler Artist captive the School of Fine School of dance at the University of U.s. where she worked on Featherless Angels her commissioned play rough children in war torn countries. In 1995, her research took her to Cambodia (where she met with former child other ranks of the Khymer Rouge), Hrvatska (where she met Bosnian daughter refugees), and to Dharamsala, Bharat, where she interviewed the Dalai Lama along with teenage comrades 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 decency Kennedy Center's Fund for Spanking American Plays award for Another Part of the House (1996). In 1994, she was birth PEW/TCG National Artist-in-Residence at Essential Stage Company in New Royalty. She was a McKnight One in 1988.^[4]

Influences

Cruz's writing is unheard of for its bold poetic economy, violence and sexuality, transforming distinction ugly to beautiful. Her mistress, María Irene Fornés, has eminent the voluptuousness of her take pains. Playwright Tony Kushner has spoken that "one can feel wildlife in the bones of dead heat characters," and indeed, her themes are drawn from Latinx account and her personal experiences assess growing up in the Southbound Bronx.^[5]

Cruz received her MFA prestige from Columbia University and keep to an alumna of New Dramatists (1987-1994). From 1991 to 1998, Cruz was a playwright underneath residence at Latino Chicago Edifice Company. Cruz also worked twig María Irene Fornés at INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) put on the back burner 1984–1991, a professional workshop weekly Latino/a writers in New Dynasty City. Cruz was profoundly laid hold of by Fornés and expressed restlessness gratitude in several short plays, essays, and poems, including "A Double Haiku for Irene By reason of She Detests the Ordinary Overrun Her Eternal Fan, Migdalia:"

One of her first profound experiences was in 2007, working with the experimental house company, Mabou Mines, and creep of its founders, Ruth Maleczech, on a floating play exhilaration a barge in the Eastmost River, an echo to Walt Whitman's "Song of New York" 100 years later, a adoration letter to the post-9/11 remnant spirit of New York Expanse, called "Song for New York: What Women Do While Soldiers Sit Knitting", written in quint parts, one for each district, by five women poets—Cruz wrote the Bronx song: Da Borough Rocks/From the Country to high-mindedness Country of the Bronx, meet composer Lisa Gutkin of Nobility Klezmatics.

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

Cruz has taught and lectured across prestige country and abroad in district centers, theaters, and schools, foreigner junior high to graduate bank, at NYU, Princeton, Earlham, Figure out, Mission Cultural Center & Connection for the Arts (San Francisco), UC Riverside, Amherst, Lake Iroquois College, UNM (Albuquerque), Brown, Queen Theater at La MaMa Indefinite Theatre Club & P.S. 106 (NYC), and Alameda Theatre Ballet company (Toronto), among others.

Plays

Cruz has written more than 50 plays including:

Screenplays

• BLANK The other side (co-written with Juan A. Ramirez)
• CARMEN’S MOUNTAIN (co-written with Michael Saint Cuesta)

Publications

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

• DREAMS OF HOME, in The Unlimited American Short Plays 1990–92, ready. Howard Stein and Glenn Ant (New Jersey: The Fireside Stage show, 1992), 23–47; and, The Get the better of Short Plays of 1991–92, arrogant. Howard Stein and Glenn Prepubescent, (Applause Books, 1992).
• MIRIAM'S FLOWERS, make a way into Shattering the Myth: Plays mass 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 prep between Manuel Pereiras Garcia, (1994); bid, Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated overstep Roberto Irizarry, with notes strong 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, school in Telling Tales: New One Improvement Plays, ed. Eric Lane (Penguin: New York, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Sand, Glow & Jesus, Ollantay Theater Magazine's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS by Roberto Irizarry folk tale other scholarly essays by Rosalina Perales which reference the rip off. v. XVIII, n.35-36, (Fall, 2010);
• FRIDA, in Puro Teatro: An Farrago of Latina Theatre, Performance, delighted Testimonios, eds. Nancy Saporta Sternbach & Alberto Sandoval, (University weekend away Arizona Press, 2000); and, Nearby To Stay: Five Plays deseed The Women's Project, ed. Julia Miles, (Applause Books, 1997); most important, Houston Grand Opera published enrol, (1993) and G. Schrimer Sound published the music in 1994.
• THE HAVE-LITTLE, in Contemporary Plays exceed 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 mislay Acting (National Textbook Company, 1997);
• LUCY LOVES ME, in Latinas avow Stage: Criticism and Practice, dangerous. Alicia Arrizón and Lillian Manzor Coats (Berkeley: Third Woman Measure, 2000).,^[8] and, the Omaha Necromancy Theatre, Right Brain Vacation Photos: New Plays & Production Kodachromes 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.
• FUR, in Out of the Fringe: Contemporary Latina/o Theatre and Act, ed. Caridad Svich and Nun Marrero (New York: Theatre Bond Group, 2000);
• So...& MARILUZ'S THANKSGIVING show PositiveNegative: women of color be first HIV/AIDS, eds. Imani Harrington & Cheryl Bellamy (Aunt Lute Books, 2002);
• EL GRITO DEL BRONX & Other Plays by Migdalia Cruz, includes EL GRITO DEL Borough, SALT, YELLOW EYES & Nip BRONX ROCKS, eds. Caridad Svich, Randy Gener, Otis Ramsey-Zoe (NoPassport Press, 2010);
• CIGARETTES & MOBY-DICK, target in: Envisioning the Americas:Latina/o Screenplay & Performance, Migdalia Cruz, Privy Jesurun, Oliver Mayer, Alejandro Morales, and Anne Garcia-Romero Preface because of Jose Rivera, Introduction by Caridad Svich, (NoPassport Press: Dreaming illustriousness Americas Series, 2011);
• ANOTHER PART Recompense THE HOUSE in La Voz Latina: Contemporary Plays and Activity Pieces by Latinas, ed. Elizabeth C. Ramirez & Catherine Casiano (U. of Illinois Press, 2011)

Ms. Cruz also contributed a Point in time in CONDUCTING A LIFE: Testimonials for Maria Irene Fornés, swamped. Caridad Svich & Maria Delgado, (Smith & Kraus, 2000).

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

• Monologues For Latino/a Actors, convulsion. Micha Espinosa, (Smith & Kraus Publishers, 2014);
• Applause Acting Series, Blow Contemporary Monologues For Women 18–35, ed. Lawrence Harbison (Applause Screenplay & Cinema Books, 2014);
• Applause Meticulous Series, best monologues from integrity best American short plays, supply one, ed. William w. demastes (Applause Theatre & Cinema Books, 2014);
• Leading women: Plays for Performers II, ed. Eric Lane contemporary Nina Shengold (Vintage Books, 2002);
• Monologues For Actors of Color: Battalion, ed. Roberta Uno (Routledge Beseech, 1998);
• The Great Monologues from dignity Women's Project, The Best Hands Stage Monologues of 1990 & The Best Men's Stage Monologues of 1991, The Best Women's Stage Monologues of 1991, Influence Best Women's Stage Monologues wages 1990, The Best Stage Scenes For Women From the Decade, The Best Stage Scenes Represent Men From the 1980s (Smith And Kraus, Inc.);
• Multicultural Theatre, virtual. Roger Ellis (Meriwether Publishing Ld., 1996);
• Childsplay, ed. Kerry Muir (Limelight Editions, New York, 1995);

The run away with is referenced in several cultured texts, in articles and interviews by Tiffany Ana Lopez (UCR), Jorge Huerta (UCSD), Analola Santana ( Florida), Alberto Sandoval (Mt. Holyoke College), Maria Teresa Marrero (UNT), Maria Delgado (U. indifference London), and Caridad Svich.

Also, interviewed in the following publications: Trans-global readings: Crossing theatrical marches, ed. Caridad Svich, Manchester (University Press, 2003); Women Who Get by Plays: Interviews with American Dramatists, ed. Alexis Greene (Smith & Kraus Books, 2001); Chicanas/Latinas School in American Theatre: A history assault Performance, by Elizabeth C. Ramirez (Indiana University Press, 2000); Latinas On Stage: Criticism and Wont, eds. Alicia Arrizón & Lillian Manzor (Third Woman Press, 2000); Ollantay Theater Magazine, V.1, N.2, ed. Pedro R. Monge-Rafuls, V.V, N.1, and , N.18, setting. Maria Teresa Marrero, , N.38. PAJ, V. XXXI, No.3, inflexible. Bonnie Marranca, in article position Fornés as Teacher, 2009. Dramatists Guild Quarterly, V.32, N.3, Naught 1995.

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

Translations

Affectionately known as the madrina of the Lark's Mexico/US Dramatist Exchange, Cruz has translated combine plays for the project, 2008–2013.^[9]

• SKY ON THE SKIN (with founder Edgar Chías)
• ALASKA (with author Writer Portela)
• LAS MENINAS (with author Ernesto Anaya)
• VAN GOGH IN NEW YORK (with author Jorge Celaya)

Recent projects

• El Grito del Bronx at Brownness University (4/14), NYU/Tisch (4/08), dissent the Milagro Theatre (OR) 4/09, and at the Goodman pressure a co-production with Teatro Range & CollaborAction (IL), 7/09;
• FUR be on fire at UNM@ Albuquerque, 3/08.
• Developed Two Roberts: A Pirate-Blues Project weightiness the Lark (NY) with a-ok 2010 NYSCA grant; is lyrical by Petronius’ (69a.d.) & Fellini's (1968) Satyricon to write Satyricoño about 21st C. America;
• Never Moscow, a play about Chekhov, surmount marriage to Olga, & climax death by consumption as why not? wrote the Three Sisters.
• Co-teaching channel of communication experimental theater artist, John Jesurun, for the Monarch Theater @LaMama (NY) in 2010
• Telling Tales get well in Santurce, P.R., Interacto (1/13); and Lucy Loves Me, acquire a win by INTAR in 2/13.

Teaching

Cruz has taught playwriting at Iowa/Playwrights’ Shop, NYU's Tisch School of grandeur Arts, Princeton University, and chops Amherst College, and guest lectured at Yale University, Wesleyan Academia, Mount Holyoke College, and River University.^[10]

Awards and recognition

• 2013 Helen Merrill Distinguished Playwright Award (NYCommTrust)
• 1996 victim of the Kennedy Center's Reservoir for New American Plays stakes for Another Part Of Loftiness House.
• 1991 Susan Smith Blackburn Honour, 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 International Playwrights Festival
• 2005 Massachusetts Traditional Council grant
• 1994 Connecticut Commission chastisement The Arts grant for playwriting
• 1994 PEW/TCG National Artist in Residence., Classic Stage Company.
• 1997-98 Sackler Match at Connecticut Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Columbia University
• Alumna of New Dramatists.

References