Migdalia cruz biography

American dramatist

Migdalia Cruz is a penman of plays, musical theatre and composition in the U.S. and has back number translated into Spanish, French, Arabic, European, and Turkish.

Her works have bent produced in venues as diverse pass for Playwrights Horizons in New York Movement, the Old Red Lion Theatre underside London, Miracle Theatre in Portland, Oregon, Ateneo Puertorriqueño in San Juan, dignity National Theatre of Greece in Town, and Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Faculty of Music, Monarch Theater, En-Garde Terrace, HOME, Shaliko Company, New York Poet Festival's Festival Latino, Theatre For Greatness New City, and the W.O.W. Restaurant (New York); Ateneo Puertorriqueño (PR); Not public Theater of Greece (Athens); Foro Envoy Juana Ines de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); American Reprise Theatre (Cambridge); Cleveland Public Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); American Music Theatre Festival (Philadelphia); Intersection for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient of numerous distinction including the National Endowment for ethics Arts playwriting fellowship (in 1991 crucial 1995). In 1999, she was dubbed the first Sackler Artist in nobleness School of Fine Arts at birth University of Connecticut where she influenced on Featherless Angels her commissioned chuck about children in war torn countries. In 1995, her research took cobble together to Cambodia (where she met touch former child soldiers of the Khymer Rouge), Croatia (where she met Bosnian child refugees), and to Dharamsala, Bharat, where she interviewed the Dalai Lama along with teenage members of magnanimity Tibetan refugee community.^[3]

In December 2013, Cruz was awarded the New York General public Trust/Helen Merrill Distinguished Playwright's Award. She is a recipient of the Airdrome Center's Fund for New American Plays award for Another Part of position House (1996). In 1994, she was the PEW/TCG National Artist-in-Residence at Average Stage Company in New York. She was a McKnight Fellow in 1988.^[4]

Influences

Cruz's writing is known for its valiant poetic crispness, violence and sexuality, varying the ugly to beautiful. Her teacher, María Irene Fornés, has noted grandeur voluptuousness of her work. Playwright High-class Kushner has said that "one vesel feel history in the bones carryon her characters," and indeed, her themes are drawn from Latinx history lecture her personal experiences of growing bring about in the South Bronx.^[5]

Cruz received afflict MFA degree from Columbia University service is an alumna of New Dramatists (1987-1994). From 1991 to 1998, Cruz was a playwright in residence test Latino Chicago Theater Company. Cruz too worked with María Irene Fornés advocate INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) hold up 1984–1991, a professional workshop for Latino/a writers in New York City. Cruz was profoundly influenced by Fornés ahead expressed her gratitude in several take your clothes off plays, essays, and poems, including "A Double Haiku for Irene Because She Detests the Ordinary From Her Timeless Fan, Migdalia:"

One of her most profound experiences was in 2007, working with the exploratory theater company, Mabou Mines, and separate of its founders, Ruth Maleczech, dependable a floating play on a lighter in the East River, an resound to Walt Whitman's "Song of Different York" 100 years later, a adoration letter to the post-9/11 survival assuage of New York City, called "Song for New York: What Women Hard work While Men Sit Knitting", written expansion five parts, one for each district, by five women poets—Cruz wrote grandeur Bronx song: Da Bronx Rocks/From goodness Country to the Country of birth Bronx, with composer Lisa Gutkin disseminate The Klezmatics.

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

Cruz has taught and lectured across leadership country and abroad in community centers, theaters, and schools, from junior buzz to graduate level, at NYU, Town, Earlham, UNT, Mission Cultural Center & Intersection for the Arts (San Francisco), UC Riverside, Amherst, Lake Erie Institution, UNM (Albuquerque), Brown, Monarch Theater renounce La MaMa Experimental Theatre Club & P.S. 106 (NYC), and Alameda Coliseum Company (Toronto), among others.

Plays

Cruz has written more than 50 plays including:

Screenplays

• BLANK VERSE (co-written confront Juan A. Ramirez)
• CARMEN’S MOUNTAIN (co-written examine Michael Angel Cuesta)

Publications

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

• DREAMS OF HOME, in The Outstrip American Short Plays 1990–92, ed. Actor Stein and Glenn Young (New Jersey: The Fireside Theatre, 1992), 23–47; significant, The Best Short Plays of 1991–92, ed. Howard Stein and Glenn Youthful, (Applause Books, 1992).
• MIRIAM'S FLOWERS, in Shrill alert the Myth: Plays by Hispanic Corps, ed. Denise Chavez (Houston: Arte Publico Press, 1992), 51–84; and, Theatre Discipline Group's Plays in Process, V.11, N.1.; and, The Presbyter's Peartree, Las Flores de Miriam, translated by Manuel Pereiras Garcia, (1994); and, Instituto de Cultura Puertorriqueña/ARTWORKS/NEA, TEATRO PUERTORRIQUEÑA EN ESTADOS UNIDOS, Las flores de Miriam, translated through Roberto Irizarry, with notes by Rosalina Perales, (2011); and, Universidad Veracuzana, Tramoya: Cuaderno de Teatro, Las Flores move quietly Miriam, translated by Roberto Irizarry, tercera epoca, 116, (Jul/Sep. 2013).
• TELLING TALES, sediment Telling Tales: New One Act Plays, ed. Eric Lane (Penguin: New Dynasty, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Store, Fire & Jesus, Ollantay Theater Magazine's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS disrespect Roberto Irizarry and other scholarly essays by Rosalina Perales which reference nobleness work. v. XVIII, n.35-36, (Fall, 2010);
• FRIDA, in Puro Teatro: An Anthology devotee Latina Theatre, Performance, and Testimonios, system. Nancy Saporta Sternbach & Alberto Sandoval, (University of Arizona Press, 2000); nearby, Here To Stay: Five Plays running off The Women's Project, ed. Julia Miles, (Applause Books, 1997); and, Houston Expensive Opera published libretto, (1993) and Downy. Schrimer Music published the music break off 1994.
• THE HAVE-LITTLE, in Contemporary Plays because of Women of Color, eds. Roberta Uno & Kathy Perkins, 106–26, (Routledge Multinational, 1996);
• WINNIE-IN-THE-CITIE in Actor's Playbook: Theatre Arts—The Dynamics of Acting (National Textbook Posse, 1997);
• LUCY LOVES ME, in Latinas phrase Stage: Criticism and Practice, ed. Alicia Arrizón and Lillian Manzor Coats (Berkeley: Third Woman Press, 2000).,^[8] and, glory Omaha Magic Theatre, Right Brain Gad about get Photos: New Plays & Production Kodaks 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.
• FUR, in Point of the Fringe: Contemporary Latina/o Opera house and Performance, ed. Caridad Svich flourishing Teresa Marrero (New York: Theatre Field Group, 2000);
• So...& MARILUZ'S THANKSGIVING in PositiveNegative: women of color and HIV/AIDS, system. Imani Harrington & Cheryl Bellamy (Aunt Lute Books, 2002);
• EL GRITO DEL Borough & Other Plays by Migdalia Cruz, includes EL GRITO DEL BRONX, Humorous, YELLOW EYES & DA BRONX ROCKS, eds. Caridad Svich, Randy Gener, Discoverer Ramsey-Zoe (NoPassport Press, 2010);
• CIGARETTES & MOBY-DICK, included in: Envisioning the Americas:Latina/o Screenplay & Performance, Migdalia Cruz, John Jesurun, Oliver Mayer, Alejandro Morales, and Anne Garcia-Romero Preface by Jose Rivera, Unveiling by Caridad Svich, (NoPassport Press: Mournful the Americas Series, 2011);
• ANOTHER PART Come close to THE HOUSE in La Voz Latina: Contemporary Plays and Performance Pieces moisten Latinas, ed. Elizabeth C. Ramirez & Catherine Casiano (U. of Illinois Keep under control, 2011)

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

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

• Monologues Constitute Latino/a Actors, ed. Micha Espinosa, (Smith & Kraus Publishers, 2014);
• Applause Acting Stack, Best Contemporary Monologues For Women 18–35, ed. Lawrence Harbison (Applause Theatre & Cinema Books, 2014);
• Applause Acting Series, conquer monologues from the best American tiny plays, volume one, ed. William vulnerable. demastes (Applause Theatre & Cinema Books, 2014);
• Leading women: Plays for Actresses II, ed. Eric Lane and Nina Shengold (Vintage Books, 2002);
• Monologues For Actors be alarmed about Color: Women, ed. Roberta Uno (Routledge Press, 1998);
• The Great Monologues from decency Women's Project, The Best Men's Depletion Monologues of 1990 & The Unqualified Men's Stage Monologues of 1991, Ethics Best Women's Stage Monologues of 1991, The Best Women's Stage Monologues loom 1990, The Best Stage Scenes Nurture Women From the 1980s, The Suited Stage Scenes For Men From excellence 1980s (Smith And Kraus, Inc.);
• Multicultural Histrionics, ed. Roger Ellis (Meriwether Publishing Company, 1996);
• Childsplay, ed. Kerry Muir (Limelight Editions, New York, 1995);

The work is referenced in several scholarly texts, in course and interviews by Tiffany Ana Lopez (UCR), Jorge Huerta (UCSD), Analola Santana (U.of Florida), Alberto Sandoval (Mt. Holyoke College), Maria Teresa Marrero (UNT), Tree Delgado (U. of London), and Caridad Svich.

Also, interviewed in the shadowing publications: Trans-global readings: Crossing theatrical marchlands, ed. Caridad Svich, Manchester (University Cogency, 2003); Women Who Write Plays: Interviews with American Dramatists, ed. Alexis Author (Smith & Kraus Books, 2001); Chicanas/Latinas In American Theatre: A history cataclysm Performance, by Elizabeth C. Ramirez (Indiana University Press, 2000); Latinas On Stage: Criticism and Practice, eds. Alicia Arrizón & Lillian Manzor (Third Woman Small, 2000); Ollantay Theater Magazine, V.1, N.2, ed. Pedro R. Monge-Rafuls, V.V, N.1, and V.IX, N.18, ed. Maria Missionary Marrero, V.XIX, N.38. PAJ, V. Xxx, No.3, ed. Bonnie Marranca, in circumstance of Fornés as Teacher, 2009. Dramatists Guild Quarterly, V.32, N.3, Autumn 1995.

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

Translations

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

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

Recent projects

• El Grito del Bronx conflict Brown University (4/14), NYU/Tisch (4/08), schoolwork the Milagro Theatre (OR) 4/09, at an earlier time at the Goodman in a co-production with Teatro Vista & CollaborAction (IL), 7/09;
• FUR presented at UNM@ Albuquerque, 3/08.
• Developed Two Roberts: A Pirate-Blues Project move away the Lark (NY) with a 2010 NYSCA grant; is inspired by Petronius’ (69a.d.) & Fellini's (1968) Satyricon correspond with write Satyricoño about 21st C. America;
• Never Moscow, a play about Chekhov, king marriage to Olga, & his grip by consumption as he wrote rectitude Three Sisters.
• Co-teaching with experimental theater chief, John Jesurun, for the Monarch Building @LaMama (NY) in 2010
• Telling Tales lay hold of in Santurce, P.R., Interacto (1/13); champion Lucy Loves Me, produced by INTAR in 2/13.

Teaching

Cruz has taught playwriting think U.of Iowa/Playwrights’ Workshop, NYU's Tisch Educational institution of the Arts, Princeton University, humbling at Amherst College, and guest lectured at Yale University, Wesleyan University, Supreme Holyoke College, and Columbia University.^[10]

Awards become peaceful recognition

• 2013 Helen Merrill Distinguished Playwright Premium (NYCommTrust)
• 1996 recipient of the Kennedy Center's Fund for New American Plays present for Another Part Of The House.
• 1991 Susan Smith Blackburn Prize, Her chapter, The Have-little was the runner-up in favour of the^{[clarification needed]} and SALT was boss 1997 runner-up.
• 2009 Obsidian Theatre of Toronto's International Playwrights Festival
• 2005 Massachusetts Cultural Convocation grant
• 1994 Connecticut Commission on The Field grant for playwriting
• 1994 PEW/TCG National Manager in Residence., Classic Stage Company.
• 1997-98 Sackler Fellow at Connecticut Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Town University
• Alumna of New Dramatists.

References