If you’ve already come to a performance, you can stay involved with Staging Old Masters!
You can return to the Pulitzer during open hours, for a second look at the Old Masters exhibit. How have the actors’ stories, recreations, observations and dramas shaped your experience of these timeless works of art?
If you are an employer interested in seeing the resumes of the actors, or if you’d like to interview an actor for employment, you can contact Employment Connection, or e-mail Lisa Harper Chang (Staging Old Masters producer, MSW, Master of Community Engagement at the Pulitzer) at firstname.lastname@example.org. Every actor who has completed Staging Old Masters’s six-week training and run of performances has demonstrated him- or herself to be motivated, imaginative, punctual, hard-working and team-oriented.
If you’re interested in getting involved with the programs at the Pulitzer Foundation or its collaborative partners— Prison Performing Arts, Employment Connection, the Brown School of Social Work and the Performing Arts Department at Washington University—you can contact Lisa Harper Chang.
Here’s the second half of an interview with Staging Old Masters director, and founder of Prison Performing Arts, Agnes Wilcox. (By the way, here’s a nifty addition: Prison Performing Arts’s 2002 production of Hamlet at Missouri Eastern Correction Center was featured in an episode of the acclaimed radio show This American Life entitled “Act V.” You can listen to it here.)
How did you get involved with working with Prison Performing Arts?
I originally came to St. Louis in the 1980s to teach. I was hired by Webster, and my husband got a teaching job here at the same time. Within two years, I worked with two other women to create The New Theater. Creating a theater company was I had always said I wanted to do, but had never done. In the mid-80s, even doing off-Broadway hits was almost too radical for St. Louis… Read More
Staging Old Masters’s movement instructor, Jackie Dodd, meets with the program’s actors once a week. In those few hours, she teaches awareness as much as dance, seeking a deepening transformation in how the actors see their own bodies. As she says below, “everyone can move.” A senior at Washington University, she’s taught at youth organizations, elementary schools, and women’s shelters, and she recently choreographed and performed a 50-minute piece called Becoming Earth.
What was your own introduction to dance and movement?
I started taking creative movement classes when I was three or so. We got to let loose the way any child loves to—running, skipping, rolling, and exploring new forms of moving through space. I remember one game called “Elevator” where we went to the corner of the room, pressed a “button,” and exited on whatever “floor” our teacher called out. On one floor, we had to move through peanut butter, on another, water, and so on. My favorite movement activity was “ice skating” across the floor on scarves.