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April 17-27, 2014

“This young company will be a force in our theatre community for years to come” – DC Metro Theatre Arts
“force/collision strikingly fulfills its mission to create new performance works” – The Washington Blade
“The sheer visual theatricality of the young company is impressive” – DC Theatre Scene

From the company that created the world premieres “Shape” and “The Nautical Yards” comes a brave, new performance inspired by the life and work of filmmaker Derek Jarman (“Caravaggio”, “The Tempest”). Jarman (all this maddening beauty) will feature an invigorating mash-up of video projections and live performance with a text from OBIE Lifetime Achievement Award-winning playwright Caridad Svich. These performances will kick off its US and UK tour.

More information on force/collision can be found at

General: $20
Student with ID: $10

PWYC Preview: April 17 at 8:00 pm
Opening Night: April 18 at 8:00 pm
PWYC Industry Night: April 21 at 7:30 pm

April 19 at 8:00 pm
April 20 at 4:00 pm
April 23 at 8:00 pm
April 24 at 8:00 pm
April 25 at 8:00 pm
April 26 at 8:00 pm
April 27 at 4:00 pm

Get Tickets to Jarman (all this maddening beauty).

some thoughts on poetry and life by Caridad Svich

some thoughts on poetry and life
As I have said before, to me, poetry and drama are twins. I have translated poetry and written/write it. It is for many a fearsome form, but I think it is only because over the years poetry has much of the time been set aside in culture (outside of spoken word, where it is/has been in culture) and made to seem an "elitist" form. Quite the contrary. Poets ask the deep questions of and about our culture, histories and world. The demands of language - formal or in the vernacular- are bountiful. Novelist and essayist Jeanette Winterson talks about how when she visits small towns in her country of England, she often encounters amongst the older generation in particularly folks who can recite poems from memory at the drop of a hat, and these are not poets but just, you know, "regular" folks like or me. Winterson has remarked in her writings that the generations that were taught in school to memorize poems - to put them to heart- on a fairly regular basis, and thus came to poetry as a living, breathing form, made poetry part of their lives. It was not an elitist practice from a writer or readers perspective. It's when poetry was made "special" (again to paraphrase Winterson) that it became the nearly exclusive province of the academy and academic poets, which is a shame indeed, for poetry belongs to us all because it teaches us to face the tough world with language that is precise, muscular, sharp, and laser-focused.
In our everyday lives, poetry is most often experienced, unless you move amongst the world of arts and letters, through ceremonies: the Presidential Inaugural, elegies, weddings, songs of praise, hymns, and sometimes, song lyrics (though not ALL song lyrics are poetry). The public art movement has initiatives for poetry in the streets, most often through the posting of poems on subway cars and other publicly transited areas.
When I write poetry, it usually stems from a desire to articulate something about the condition of the world that I cannot articulate in any other way but through a poem. It couldn't be an essay or prose piece or dramatic scene. It has to be a poem because the intimate quality of the poetry allows for a different expression of thought and feeling. Eminent poet Mark Doty talks often about how poetry "is feeling." Its pure expression in abstract terms, because of course, as we all know, language is a system of signs and already an abstraction. Poetry crystallizes emotion. It distills it. Down to the bone. And sometimes, if you are influenced by William Blake, Rimbaud and more, toward the ecstatic, feverish and rhapsodic. New Jersey's own Patti Smith talks about that in her memoir Just Kids.
The songwriter and musician Lou Reed passed away recently. While many of us in the world of arts and music mourned his loss and recognized the impact of his legacy, it is also true that part of that legacy is a poetic one. Not all of his wide body of work, of course, was poetry, but some of it was, and the ferocity and sharpness of his approach to the lyric (influenced by his own love of poetry and prose stylists) is rather a lesson that outlives his passing.
The great Doris Lessing also passed away recently and to witness, even from afar, and through her vast body of work, was another lesson in how to keep striving, changing, challenging the form itself and making all of us see anew. Consider how many lives Lessing altered when people read The Golden Notebooks alone!
So, I was thinking last night deep into the wee hours about Lou Reed and Doris Lessing and poetry and poetic lives - and how writing can and does save us, at its best, if we meet it full-on, and not shy away from it or treat it as a soft machine to merely get by.
Writing may be all we got, to use the vernacular. Its power is in our hands.
Caridad Svich
November 27, 2013

Video trailer is now live at 

Jarman (all this maddening beauty).
by Caridad Svich

Director John Moletress for force/collision ensemble
a performance project inspired by the life and work of queer artist Derek Jarman.

Filmed by Ben Carver.
In video: Stephen Benedicto. 

More information: 

First workshop performances: April 17-27, 2014 at Atlas Performing Arts Center in Washington D.C. (USA)

Severed Moon at the Lark

Lark Play Development Center US-Mexico Exchange presents
by Alberto Castillo
Translated by Caridad Svich
Directed by Debbie Saivetz
on December 15, 2013 at 7 PM
Guadalupe’s son has disappeared. She must find him before the world comes to an end. Will she spend the rest of her days searching, and will he continue to run away from her, as if from a demon? (approx. 75 mins.) Reservations now at

By Carey Purcell

15 Nov 2013 

The Stop Gun Violence NOW Theater Festival will honor the one-year anniversary of the Newtown massacre and its 26 victims Dec. 12-15 at The Workshop Theater.

Presented by Adina Taubman and Chrysalis Theatre Company, the festival will present four days of theatre, including plays, docu-theatre, one acts and panel discussions, centered around the themes of gun violence and gun control.

Featured works include A Line in the Sand, a one-person docudrama by Adina Taubman based on interviews conducted in Littleton, CO, in 1999 following the massacre at Columbine High School; 9MM America, a docudrama written and performed by 10 young women and girls between the ages 12-21, based on their experiences with gun violence in New York City neighborhoods where it is a daily threat; Bang Bang You're Dead, a one-act play about a fictional school shooting performed by high school students in New Jersey by William Mastrosimone; 13 short plays from the collection 24 Gun Control Plays and several new one acts written by members of Chrysalis Theatre Company; and The Sandy Hook Theatre Project, which showcases poetry, prose, music and interviews written by the Newtown, CT, community, examining the town before, during the moments of, and after the tragedy.

The panel discussions will include "How to Prevent Gun Violence in New York City and other Urban Areas," "How to Create Theatre for Social Change," "How to Take Legislative and Political Action," "How Parents and Kids Can Talk to Each Other about Gun Violence" and "How Survivors, Families, and Communities Recover From Gun Violence and Move Forward." 

A special tribute event to the 26 victims of the Newtown massacre and their families will be held Dec. 14 at 8:30 PM.

All of the ticket proceeds will be donated to the local gun control organizations that are sponsoring the festival: Moms Demand Action for Gun Sense in America, New Yorkers Against Gun Violence, Newtown Action Alliance, Organizing for Action and Harlem Mothers SAVE.

Tickets and more information are available by visiting

NoPassport 2014 Conference Preliminary Information


NoPassport and Louisiana State University Department of Theatre present:

8th annual NoPe - NoPassport Theatre Conference



NoPassport and Louisiana State University Department of Theatre present a one-day theatre conference initiated and curated by Caridad Svich (2012 OBIE for Lifetime Achievement) and co-curated by Eric Mayer-Garcia (LSU) exploring the diasporic imagination, and in particular, the intersection of communities with origins in west Africa and the Caribbean, as it is reflected in new writing for the stage and live performance on March 29, 2014 from 9:30 AM-6:00 PM in  the Music and Dramatic Arts Building, located on the LSU Baton Rouge campus. This conference on the diasporic imagination will query the symbiosis of theatre/performance and diaspora. How does diaspora transfuse cultures, spaces, and voices across distances, borders, and history? As hosts for these intersections, what is it about theatre and performance that make them fertile soil for diaspora's retracing of origins and migrations within the imagination? What are the politics of remembering those who have left or have been displaced, and what happens with the vacuum their absence leaves behind?

The conference features a special US premiere performance of edited version of Caridad Svich’s Carthage/Cartagena from UK’s Signdance Collective International, Europe’s only international touring signdance theatre music company. Among those moderating panels and taking part in the conference will be Lynn Manning (co-founder, Watts Village Theater Company) Oliver Mayer (faculty, USC), Otis Ramsey-Zoe (faculty, Howard University), Lillian Manzor (faculty, University of Miami), Christopher Oscar Peña (playwright), and a distinguished roster of artists & scholars from New Orleans, Baton Rouge, and across the US.

The conference will also feature the launch of several new titles from NoPassport Press, including collections by Rogelio Martinez and an anthology of short stories (in new translastions) from Latin America, Spain and Catalonia.

Conference One-Day Pass is $10.00 (for general admission and faculty), $5 for students with valid ID.

Register directly at

For more information about the conference schedule, please visit: or contact

NoPassport was founded by playwright Caridad Svich in 2003 as a Pan-American theatre alliance & press devoted to action, advocacy, and change toward the fostering of cross-cultural diversity and difference in the arts with an emphasis on the embrace of the hemispheric spirit in US Latina/o and Latin-American theatre-making.  Caridad Svich and NoPassport is a sponsored project of Fractured Atlas, a non-profit arts service organization.