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Futurism, Puppets, and Me, Dan Hurlin's (SCL 79) in his Final Lecture Before Retirement

Please join us as we celebrate theatre artist, mentor, and professor Daniel Hurlin ’79 in his final lecture before retirement. The Theatre program cordially invites faculty, staff, students, alumni, and friends to toast Dan and his extraordinary contribution to the Sarah Lawrence College community.

Sunday, October 4th, 2020 • 11am EST Live on Zoom

A Final lecture "Futurism, Puppets, and Me" followed by a Q & A, and farewell toast. Hosted by friend, SLC faculty, and puppet artist, Lake Simons

A personal look at the Italian Futurists during Dan Hurlin's Rome Prize year.

"One of the first 20th Century art movements (1909) the Italian Futurists had no less an ambition than to “Reconstruct the Universe.” Characters like F.T. Marinetti, (often called “the caffeine of Europe”) and painters like Fortunato Depero brought their early machine age sensibility to everything – architecture, painting, poetry, music, cuisine, performance and even puppetry.

This talk is a look at the process of researching their work, making a terrific find, and then transforming historical concerns into contemporary art. "

Session to be followed by a Q and A with Lake Simons

Bio: Dan Hurlin received a 1990 Village Voice OBIE award for his solo adaptation of Nathanael West’s “A Cool Million,” and his suite of puppet pieces “Everyday Uses For Sight: Nos. 3 & 7” (2000) earned him a 2001 New York Dance and Performance Award (a.k.a. “Bessie). His 1992 solo “Quintland” earned sculptor Donna Dennis a New York Dance and Performance award (a.k.a. “Bessie”) for visual design, and in 1998, he was nominated for an American Theater Wing Design Award for his set design for his music theater piece “The Shoulder” (music by Dan Moses Schreier). “Hiroshima Maiden,” (2004) with an OBIE award-winning score by Robert Een, was awarded a UNIMA (Union Internationale de la Marionette) citation of Excellence. His most recent piece, “Demolishing Everything With Amazing Speed” premiered in 2016 at Bard Summerscape Festival. Earlier performance works include “Disfarmer” (2009) which premiered at St. Ann’s Warehouse, “NO(thing so powerful as)TRUTH,” (1995); “Constance And Ferdinand” (1991) (with Victoria Marks); “The Jazz Section” (1989) (with Dan Froot); and his toy theater piece “The Day The Ketchup Turned Blue” (1997) from the short story by John C. Russell. He has performed with Ping Chong, Janie Geiser, and Jeffrey M. Jones, and directed premieres of works by Lisa Kron, Holly Hughes, Dan Froot, Erik Ehn, and John C. Russell among others. Dan has served on the faculties of Bowdoin, Bennington, Barnard Colleges, Princeton University, and Director of the Graduate Program in Theater at Sarah Lawrence College. In addition to being a three-time fellow at the MacDowell Colony, Dan has received fellowships from and the John Simon Guggenheim Memorial Foundation in choreography, a USA Artist Fellowship, the Alpert Award for theatre, and the 2013 Jesse Howard Jr. Rome Prize for visual art.

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