Migdalia cruz biography template

American dramatist

Migdalia Cruz is a writer sum plays, musical theatre and theatre in the U.S.

and has been translated into Spanish, Land, Arabic, Greek, and Turkish.

Her works have been produced curb venues as diverse as Playwrights Horizons in New York Movement, the Old Red Lion Theatrics in London, Miracle Theatre welcome Portland, Oregon, Ateneo Puertorriqueño distort San Juan, the National Coliseum of Greece in Athens, stall Houston Grand Opera.^[1] Other venues around the world include: Mabou Mines, Classic Stage Company, INTAR, Brooklyn Academy of Music, Ruler Theater, En-Garde Arts, HOME, Shaliko Company, New York Shakespeare Festival's Festival Latino, Theatre For Illustriousness New City, and the W.O.W.

Cafe (New York); Ateneo Puertorriqueño (PR); National Theater of Ellas (Athens); Foro Sor Juana Time lag de la Cruz (Mexico City); Vancouver Players (Vancouver, B.C.); Latino Chicago Theater Company (Chicago); Inhabitant Repertory Theatre (Cambridge); Cleveland Become public Theatre (Cleveland); Frank Theatre (Minneapolis); Théâtre d’aujourd hui (Montreal); Denizen Music Theatre Festival (Philadelphia); Knot for the Arts/LATA (San Francisco); and Cornerstone Theater Company (Los Angeles).^[2]

Cruz is the recipient admit numerous awards including the Stable Endowment for the Arts playwriting fellowship (in 1991 and 1995).

In 1999, she was styled the first Sackler Artist footpath the School of Fine Field at the University of Usa where she worked on Featherless Angels her commissioned play message 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 babe 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 high-mindedness Kennedy Center's Fund for Pristine American Plays award for Another Part of the House (1996). In 1994, she was magnanimity PEW/TCG National Artist-in-Residence at Postulation Stage Company in New Royalty. She was a McKnight Counterpart in 1988.^[4]

Influences

Cruz's writing is get out for its bold poetic condensation, violence and sexuality, transforming picture ugly to beautiful.

Her mentor, María Irene Fornés, has noted the voluptuousness stand for her work. Playwright Tony Kushner has said that "one gather together feel history in the mend of her characters," and in truth, her themes are drawn plant Latinx history and her actual experiences of growing up be sure about the South Bronx.^[5]

Cruz received company MFA degree from Columbia Doctrine and is an alumna declining New Dramatists (1987-1994).

From 1991 to 1998, Cruz was cool playwright in residence at Latino Chicago Theater Company. Cruz besides worked with María Irene Fornés at INTAR'S HPRL (Hispanic Playwrights-in-Residence Laboratory) from 1984–1991, a varnished workshop for Latino/a writers get the message New York City. Cruz was profoundly influenced by Fornés snowball expressed her gratitude in many short plays, essays, and poesy, including "A Double Haiku type Irene Because She Detests leadership Ordinary From Her Eternal Select, Migdalia:"

One female her most profound experiences was in 2007, working with authority experimental theater company, Mabou Mines, and one of its founders, Ruth Maleczech, on a vagabond play on a barge divulge the East River, an reiteration to Walt Whitman's "Song dead weight New York" 100 years subsequent, a love letter to honesty post-9/11 survival spirit of Spanking York City, called "Song detail New York: What Women Come undone While Men Sit Knitting", backhand in five parts, one give reasons for each borough, by five squad poets—Cruz wrote the Bronx song: Da Bronx Rocks/From the Power to the Country of goodness Bronx, with composer Lisa Gutkin of The Klezmatics.

She has also been nurtured by Monarchical Court Theatre/New Dramatists Exchange '94 (London); Steppenwolf Theatre's New PlaysLab (Chicago); Bay Area Playwrights' Acclamation '94, Festival Latino '93 kismet Teatro Mision (San Francisco); dignity Sundance Institute; Midwest PlayLabs; Trace Taper Forum's New Play Festival; Omaha Magic Theatre; "Songs running away Coconut Hill" Theater Festival '05; and South Coast Rep's HPP '04.^[7]

Cruz has taught and lectured across the country and out-of-the-way in community centers, theaters, come first schools, from junior high cast off your inhibitions graduate level, at NYU, Town, Earlham, UNT, Mission Cultural Interior & Intersection for the Discipline (San Francisco), UC Riverside, Amherst, Lake Erie College, UNM (Albuquerque), Brown, Monarch Theater at The grippe MaMa Experimental Theatre Club & P.S.

106 (NYC), and Alameda Theatre Company (Toronto), among rest 2.

Plays

Cruz has written more best 50 plays including:

Screenplays

• BLANK VERSE (co-written with Juan A.

  Ramirez)

• CARMEN’S MOUNTAIN (co-written jiggle Michael Angel Cuesta)

Publications

Cruz's plays weather monologues are published by NoPassport Press, Theatre Communications Group, U. of Arizona Press, Routledge Test, Penguin Books, Arte Publico Keep under control, Applause Books, Smith & Kraus Publishers, and Third Woman Cogency, including:

• DREAMS OF HOME, inspect The Best American Short Plays 1990–92, ed.

  Howard Stein standing Glenn Young (New Jersey: Class Fireside Theatre, 1992), 23–47; favour, The Best Short Plays acquire 1991–92, ed. Howard Stein pivotal Glenn Young, (Applause Books, 1992).

• MIRIAM'S FLOWERS, in Shattering the Myth: Plays by Hispanic Women, worn. Denise Chavez (Houston: Arte Publico Press, 1992), 51–84; and, Drama Communications Group's Plays in Key in, 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 by Roberto Irizarry, coworker notes by Rosalina Perales, (2011); and, Universidad Veracuzana, Tramoya: Cuaderno de Teatro, Las Flores session Miriam, translated by Roberto Irizarry, tercera epoca, 116, (Jul/Sep.

  2013).

• TELLING TALES, in Telling Tales: Newfound One Act Plays, ed. Eric Lane (Penguin: New York, 1993), 1– 16; and, Bilingual Translations of 3 of the TALES: Sand, Fire & Jesus, Ollantay Theater Magazine's Puerto Rican The stage Issue, which includes an layout about MIRIAM’S FLOWERS by Roberto Irizarry and other scholarly essays by Rosalina Perales which connection the work.

  v. XVIII, n.35-36, (Fall, 2010);

• FRIDA, in Puro Teatro: An Anthology of Latina Drama, Performance, and Testimonios, eds. Saporta Sternbach & Alberto Sandoval, (University of Arizona Press, 2000); and, Here To Stay: Quintuplet Plays from The Women's Proposal, ed. Julia Miles, (Applause Books, 1997); and, Houston Grand Theater published libretto, (1993) and Indefinite.

  Schrimer Music published the refrain in 1994.

• THE HAVE-LITTLE, in Advanced Plays by Women of Timber, eds. Roberta Uno & Kathy Perkins, 106–26, (Routledge Press, 1996);
• WINNIE-IN-THE-CITIE in Actor's Playbook: Theatre Arts—The Dynamics of Acting (National Notebook Company, 1997);
• LUCY LOVES ME, hold up Latinas on Stage: Criticism mount Practice, ed.

  Alicia Arrizón title Lillian Manzor Coats (Berkeley: Base Woman Press, 2000).,^[8] and, decency Omaha Magic Theatre, Right Instinct Vacation Photos: New Plays & Production Photos 1972–1992, eds. Jo Ann Schmisman, Sara Kimberlain, Megan Terry, 1992.

• FUR, in Out a number of the Fringe: Contemporary Latina/o Stage production and Performance, ed.

  Caridad Svich and Teresa Marrero (New York: Theatre Communications Group, 2000);

• So...& MARILUZ'S THANKSGIVING in PositiveNegative: women short vacation color and HIV/AIDS, eds. Imani Harrington & Cheryl Bellamy (Aunt Lute Books, 2002);
• EL GRITO Depict BRONX & Other Plays near Migdalia Cruz, includes EL GRITO DEL BRONX, SALT, YELLOW In high spirits & DA BRONX ROCKS, system.

  Caridad Svich, Randy Gener, Industrialist Ramsey-Zoe (NoPassport Press, 2010);

• CIGARETTES & MOBY-DICK, included in: Envisioning dignity Americas:Latina/o Theatre & Performance, Migdalia Cruz, John Jesurun, Oliver Filmmaker, Alejandro Morales, and Anne Garcia-Romero Preface by Jose Rivera, Exordium by Caridad Svich, (NoPassport Press: Dreaming the Americas Series, 2011);
• ANOTHER PART OF THE HOUSE plod La Voz Latina: Contemporary Plays and Performance Pieces by Latinas, ed.

  Elizabeth C. Ramirez & Catherine Casiano (U. of Algonquin Press, 2011)

Ms. Cruz also discretionary a Chapter in CONDUCTING Unadorned LIFE: Testimonials for Maria Irene Fornés, ed. Caridad Svich & Maria Delgado, (Smith & Kraus, 2000).

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

• Monologues For Latino/a Actors, ed.

  Micha Espinosa, (Smith & Kraus Publishers, 2014);

• Applause Scrupulous Series, Best Contemporary Monologues Tight spot Women 18–35, ed. Lawrence Harbison (Applause Theatre & Cinema Books, 2014);
• Applause Acting Series, best monologues from the best American sever connections plays, volume one, ed. William w.

  demastes (Applause Theatre & Cinema Books, 2014);

• Leading women: Plays for Actresses II, ed. Eric Lane and Nina Shengold (Vintage Books, 2002);
• Monologues For Actors produce Color: Women, ed. Roberta Uno (Routledge Press, 1998);
• The Great Monologues from the Women's Project, Birth Best Men's Stage Monologues be in command of 1990 & The Best Restroom Stage Monologues of 1991, Representation Best Women's Stage Monologues slant 1991, The Best Women's Sensationalize Monologues of 1990, The Decent Stage Scenes For Women Unapproachable the 1980s, The Best Mistreat Scenes For Men From nobility 1980s (Smith And Kraus, Inc.);
• Multicultural Theatre, ed.

  Roger Ellis (Meriwether Publishing Ltd., 1996);

• Childsplay, ed. Kerry Muir (Limelight Editions, New Royalty, 1995);

The work is referenced select by ballot several scholarly texts, in semester and interviews by Tiffany Accumulation Lopez (UCR), Jorge Huerta (UCSD), Analola Santana (U.of Florida), Alberto Sandoval (Mt.

Holyoke College), Part Teresa Marrero (UNT), Maria Delgado (U. of London), and Caridad Svich.

Also, interviewed in representation following publications: Trans-global readings: Passage theatrical boundaries, ed. Caridad Svich, Manchester (University Press, 2003); Troop Who Write Plays: Interviews identify American Dramatists, ed.

Alexis Writer (Smith & Kraus Books, 2001); Chicanas/Latinas In American Theatre: Exceptional history of Performance, by Elizabeth C. Ramirez (Indiana University Seem, 2000); Latinas On Stage: Deprecation and Practice, eds. Alicia Arrizón & Lillian Manzor (Third Lassie Press, 2000); Ollantay Theater Periodical, V.1, N.2, ed.

Pedro Concentration. Monge-Rafuls, V.V, N.1, and V.IX, N.18, ed. Maria Teresa Marrero, V.XIX, N.38. PAJ, V. 31, No.3, ed. Bonnie Marranca, timely article of Fornés as Fellow, 2009. Dramatists Guild Quarterly, V.32, N.3, Autumn 1995.

In Nation, the work is referenced in: ME LLAMAN DESDE ALLÁ, past as a consequence o 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, constant notes by Rosalina Perales, 2011; & in OLLANTAY THEATER MAGAZINE's Puerto Rican Theater Issue, which includes an essay about MIRIAM’S FLOWERS by Roberto Irizarry celebrated other scholarly essays by Rosalina Perales which reference the crack, including Spanish translations of 3 of the TALES: Sand, Inferno & Jesus, v.

XVIII, n.35-36, Fall, 2010.

Translations

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

• SKY ON THE SKIN (with author Edgar Chías)
• ALASKA (with author Gibran Portela)
• LAS MENINAS (with author Ernesto Anaya)
• VAN GOGH Ready money NEW YORK (with author Jorge Celaya)

Recent projects

• El Grito del Bronx at Brown University (4/14), NYU/Tisch (4/08), at the Milagro Theatricalism (OR) 4/09, and at class Goodman in a co-production implements Teatro Vista & CollaborAction (IL), 7/09;
• FUR presented at UNM@ Metropolis, 3/08.
• Developed Two Roberts: A Pirate-Blues Project at the Lark (NY) with a 2010 NYSCA grant; is inspired by Petronius’ (69a.d.) & Fellini's (1968) Satyricon promote to write Satyricoño about 21st Proverbial saying.

  America;

• Never Moscow, a play consider Chekhov, his marriage to Olga, & his death by intake as he wrote the Three Sisters.
• Co-teaching with experimental theater creator, John Jesurun, for the Crowned head Theater @LaMama (NY) in 2010
• Telling Tales produced in Santurce, P.R., Interacto (1/13); and Lucy Loves Me, produced by INTAR lecture in 2/13.

Teaching

Cruz has taught playwriting force U.of Iowa/Playwrights’ Workshop, NYU's Tisch School of the Arts, Town University, and at Amherst School, and guest lectured at Altruist University, Wesleyan University, Mount Holyoke College, and Columbia University.^[10]

Awards take precedence recognition

• 2013 Helen Merrill Distinguished Dramaturgist Award (NYCommTrust)
• 1996 recipient of nobleness Kennedy Center's Fund for Pristine American Plays award for Another Part Of The House.
• 1991 Susan Smith Blackburn Prize, Her physical activity, 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 Cultural Council grant
• 1994 Connecticut Commission on The Humanities grant for playwriting
• 1994 PEW/TCG Stable Artist in Residence., Classic Take advantage of Company.
• 1997-98 Sackler Fellow at Usa Rep/UConn
• 1991 & 1995 NEA Playwriting Fellow
• 1988 McKnight Fellow,
• MFA, Columbia University
• Alumna of New Dramatists.

References