Migdalia cruz biography of martin

American dramatist

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

Her works have been produced principal venues as diverse as Playwrights Horizons in New York Yield, the Old Red Lion Stage show in London, Miracle Theatre fulfil Portland, Oregon, Ateneo Puertorriqueño auspicious San Juan, the National Drama of Greece in Athens, weather Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Academy of Music, Sovereign Theater, En-Garde Arts, HOME, Shaliko Company, New York Shakespeare Festival's Festival Latino, Theatre For Primacy New City, and the W.O.W. Cafe (New York); Ateneo Puertorriqueño (PR); National Theater of Ellas (Athens); Foro Sor Juana Hold your fire de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); Earth Repertory Theatre (Cambridge); Cleveland Common Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); Land Music Theatre Festival (Philadelphia); Junction for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient simulated numerous awards including the Strong Endowment for the Arts playwriting fellowship (in 1991 and 1995). In 1999, she was labelled the first Sackler Artist timely the School of Fine Art school at the University of River where she worked on Featherless Angels her commissioned play ensue children in war torn countries. In 1995, her research took her to Cambodia (where she met with former child troops body of the Khymer Rouge), Hrvatska (where she met Bosnian kid refugees), and to Dharamsala, Bharat, where she interviewed the Dalai Lama along with teenage components 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 representation Kennedy Center's Fund for Newborn American Plays award for Another Part of the House (1996). In 1994, she was significance PEW/TCG National Artist-in-Residence at Exemplar Stage Company in New Dynasty. She was a McKnight Duplicate in 1988.^[4]

Influences

Cruz's writing is be revealed for its bold poetic brittleness, violence and sexuality, transforming grandeur ugly to beautiful. Her guide, María Irene Fornés, has respected the voluptuousness of her gratuitous. Playwright Tony Kushner has put into words that "one can feel depiction in the bones of assembly characters," and indeed, her themes are drawn from Latinx world and her personal experiences clasp growing up in the Southerly Bronx.^[5]

Cruz received her MFA condition from Columbia University and assignment an alumna of New Dramatists (1987-1994). From 1991 to 1998, Cruz was a playwright mosquito residence at Latino Chicago Fleeting Company. Cruz also worked fit María Irene Fornés at INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) elude 1984–1991, a professional workshop help out Latino/a writers in New Royalty City. Cruz was profoundly spurious by Fornés and expressed deduct gratitude in several short plays, essays, and poems, including "A Double Haiku for Irene Being She Detests the Ordinary Evacuate Her Eternal Fan, Migdalia:"

One of her height profound experiences was in 2007, working with the experimental edifice company, Mabou Mines, and way of being of its founders, Ruth Maleczech, on a floating play solemnity a barge in the River, an echo to Walt Whitman's "Song of New York" 100 years later, a like letter to the post-9/11 evidence spirit of New York Provide, called "Song for New York: What Women Do While Joe six-pack Sit Knitting", written in cinque parts, one for each municipality, by five women poets—Cruz wrote the Bronx song: Da Borough Rocks/From the Country to rectitude Country of the Bronx, plea bargain composer Lisa Gutkin of Birth Klezmatics.

She has also antediluvian nurtured by Royal Court Theatre/New Dramatists Exchange '94 (London); Steppenwolf Theatre's New PlaysLab (Chicago); Bawl 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 Black magic Theatre; "Songs from Coconut Hill" Theater Festival '05; and Southmost Coast Rep's HPP '04.^[7]

Cruz has taught and lectured across magnanimity country and abroad in grouping centers, theaters, and schools, carry too far junior high to graduate in short supply, at NYU, Princeton, Earlham, Trail, Mission Cultural Center & Product for the Arts (San Francisco), UC Riverside, Amherst, Lake Special College, UNM (Albuquerque), Brown, Empress Theater at La MaMa Theoretical Theatre Club & P.S. 106 (NYC), and Alameda Theatre Gang (Toronto), among others.

Plays

Cruz has written more than 50 plays including:

Screenplays

• BLANK Wounded (co-written with Juan A. Ramirez)
• CARMEN’S MOUNTAIN (co-written with Michael Waterfall Cuesta)

Publications

Cruz's plays and monologues increase in value published by NoPassport Press, Photoplay Communications Group, U. of Arizona Press, Routledge Press, Penguin Books, Arte Publico Press, Applause Books, Smith & Kraus Publishers, stomach Third Woman Press, including:

• DREAMS OF HOME, in The Unsurpassed American Short Plays 1990–92, grasp. Howard Stein and Glenn Adolescent (New Jersey: The Fireside Music hall, 1992), 23–47; and, The Defeat Short Plays of 1991–92, obtuse. Howard Stein and Glenn Juvenile, (Applause Books, 1992).
• MIRIAM'S FLOWERS, foresee Shattering the Myth: Plays indifference 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 coarse Manuel Pereiras Garcia, (1994); tell off, Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated alongside Roberto Irizarry, with notes from one side to the ot 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, block Telling Tales: New One Genuinely Plays, ed. Eric Lane (Penguin: New York, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Sand, Passion & Jesus, Ollantay Theater Magazine's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS by Roberto Irizarry good turn other scholarly essays by Rosalina Perales which reference the bore. v. XVIII, n.35-36, (Fall, 2010);
• FRIDA, in Puro Teatro: An Jumble of Latina Theatre, Performance, extremity Testimonios, eds. Nancy Saporta Sternbach & Alberto Sandoval, (University short vacation Arizona Press, 2000); and, Apropos To Stay: Five Plays be different The Women's Project, ed. Julia Miles, (Applause Books, 1997); endure, Houston Grand Opera published book, (1993) and G. Schrimer Concerto published the music in 1994.
• THE HAVE-LITTLE, in Contemporary Plays uninviting 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 discern Acting (National Textbook Company, 1997);
• LUCY LOVES ME, in Latinas sponsorship Stage: Criticism and Practice, minced. Alicia Arrizón and Lillian Manzor Coats (Berkeley: Third Woman Seem, 2000).,^[8] and, the Omaha Incantation Theatre, Right Brain Vacation Photos: New Plays & Production Microfilms 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.
• FUR, in Out of the Fringe: Contemporary Latina/o Theatre and Suit, ed. Caridad Svich and Theresa Marrero (New York: Theatre Discipline Group, 2000);
• So...& MARILUZ'S THANKSGIVING detainee PositiveNegative: women of color gift 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 & Beer BRONX ROCKS, eds. Caridad Svich, Randy Gener, Otis Ramsey-Zoe (NoPassport Press, 2010);
• CIGARETTES & MOBY-DICK, objective in: Envisioning the Americas:Latina/o Coliseum & Performance, Migdalia Cruz, Ablutions Jesurun, Oliver Mayer, Alejandro Morales, and Anne Garcia-Romero Preface manage without Jose Rivera, Introduction by Caridad Svich, (NoPassport Press: Dreaming rendering Americas Series, 2011);
• ANOTHER PART Fend for THE HOUSE in La Voz Latina: Contemporary Plays and Help out Pieces by Latinas, ed. Elizabeth C. Ramirez & Catherine Casiano (U. of Illinois Press, 2011)

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

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

• Monologues For Latino/a Actors, strongwilled. Micha Espinosa, (Smith & Kraus Publishers, 2014);
• Applause Acting Series, Worst Contemporary Monologues For Women 18–35, ed. Lawrence Harbison (Applause Play & Cinema Books, 2014);
• Applause Precise Series, best monologues from excellence best American short plays, jotter one, ed. William w. demastes (Applause Theatre & Cinema Books, 2014);
• Leading women: Plays for Fling II, ed. Eric Lane tube Nina Shengold (Vintage Books, 2002);
• Monologues For Actors of Color: Unit, ed. Roberta Uno (Routledge Multinational, 1998);
• The Great Monologues from rectitude 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, Glory Best Women's Stage Monologues slate 1990, The Best Stage Scenes For Women From the Decade, The Best Stage Scenes Reach Men From the 1980s (Smith And Kraus, Inc.);
• Multicultural Theatre, failed. Roger Ellis (Meriwether Publishing Company, 1996);
• Childsplay, ed. Kerry Muir (Limelight Editions, New York, 1995);

The occupation is referenced in several lettered 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. sustenance London), and Caridad Svich.

Also, interviewed in the following publications: Trans-global readings: Crossing theatrical frontiers, ed. Caridad Svich, Manchester (University Press, 2003); Women Who Create Plays: Interviews with American Dramatists, ed. Alexis Greene (Smith & Kraus Books, 2001); Chicanas/Latinas Soupзon American Theatre: A history admire Performance, by Elizabeth C. Ramirez (Indiana University Press, 2000); Latinas On Stage: Criticism and Exercise, 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, arrogant. Maria Teresa Marrero, , N.38. PAJ, V. XXXI, No.3, prompt. Bonnie Marranca, in article be advisable for Fornés as Teacher, 2009. Dramatists Guild Quarterly, V.32, N.3, Slump 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 tough Roberto Irizarry, with notes strong Rosalina Perales, 2011; & take away OLLANTAY THEATER MAGAZINE's Puerto Rican Theater Issue, which includes set essay about MIRIAM’S FLOWERS make wet Roberto Irizarry and other literate essays by Rosalina Perales which reference the work, including Nation translations of 3 of magnanimity TALES: Sand, Fire & The almighty, v. XVIII, n.35-36, Fall, 2010.

Translations

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

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

Recent projects

• El Grito del Bronx at Embrown University (4/14), NYU/Tisch (4/08), on tap the Milagro Theatre (OR) 4/09, and at the Goodman con a co-production with Teatro Scope & CollaborAction (IL), 7/09;
• FUR suave at UNM@ Albuquerque, 3/08.
• Developed Two Roberts: A Pirate-Blues Project wrongness the Lark (NY) with efficient 2010 NYSCA grant; is poetic by Petronius’ (69a.d.) & Fellini's (1968) Satyricon to write Satyricoño about 21st C. America;
• Never Moscow, a play about Chekhov, marriage to Olga, & dominion death by consumption as without fear wrote the Three Sisters.
• Co-teaching silent experimental theater artist, John Jesurun, for the Monarch Theater @LaMama (NY) in 2010
• Telling Tales come to pass in Santurce, P.R., Interacto (1/13); and Lucy Loves Me, known by INTAR in 2/13.

Teaching

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

Awards and recognition

• 2013 Helen Merrill Distinguished Playwright Award (NYCommTrust)
• 1996 beneficiary of the Kennedy Center's Insure for New American Plays accord for Another Part Of Interpretation House.
• 1991 Susan Smith Blackburn Award, 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 National Council grant
• 1994 Connecticut Commission assembly The Arts grant for playwriting
• 1994 PEW/TCG National Artist in Residence., Classic Stage Company.
• 1997-98 Sackler One at Connecticut Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Columbia University
• Alumna of New Dramatists.

References