Have you done the live stream before? You know when to start and I already started at 6 30. Yes. Let's wait two or three moments. Okay. Should I? Should I leave it or go back? Okay. I already did. Okay. You can leave that if I'm not my name. So welcome everybody here to the month. I'm not sure what I said. My name is Frank Henshaw. This is a special evening and fast tonight. Not only because we are reopening hours or doctor three years almost and close to me just trying to get that into onto the track. It's not so easy to push a wagon. It's not, you know, it's slowly getting to run and we have to really not show everything to that. This is a very important class because we lost a truck and a colleague here. It's a puny. We published many books here to this connection to the Spanish heritage of the great playwriting tradition that we inherited and we admire from the country with all the centuries. He was one of those bridges and it was our privilege and honor to collaborate with him. The Normal School Institute supported many of the translations we did and covered it. So everybody who ever worked with broken hearts or complicated ideas often ventures in. We continue to work with less of a sense of something different. About it. I want to welcome. I think Mary was also once the executive officer actually in general as a student. 93. He was there. He was also working in the tradition in a way of the great addition here. The translation board which we think not only that the field has become so much more important but also she has been very close in that field of expertise and American theater. He was more of a Spanish theater. Mary was a special person which we did here more tonight. Old school professor in a way they don't make them anymore like this. It's kind of the U.K. Barra's of the theater is called a game general in the way. So it's a great generation that has done a lot. It's a great model for us. So many students also work up to them more and so much. And so we are doing tonight in memory. It's a year and a half late. It's more of a time of corona and maybe very complicated in a way we don't really know how to just connect about each also one of those who we lost in that time. It's a sad event of course and to this to the time of us to contribute to the memory of him and also to highlight the field. He was so very much engaged in and he did tonight the excerpts from the play was very close to the latest. Very large. Very large. And so I would like to introduce Kimberly who was a student here at the program. We actually collaborated a lot together when you were student in so many of our programs. She's also a professor of theater as a model student also. She was a mentor of mine. So thank you for reminding us how important it is that event to do and without you maybe it wouldn't have happened. It always needs a team. It always needs a group, a village to create things. So thank you Kimberly. And tell us a little bit more what we are going to do tonight and thank you for your contribution. Thank you all for coming.  But this is really important and really important to be with us. Thank you Frank. We all connected late in the program. We all connected late in 2021 after Mary passed away. And she was 95 years old but none of us knew that. And as many people have said, he seemed immortal. He seemed immortal. And he was kind of a shocker to me. And my friend Dr. Ken Nielsen reached out to me with the news. And I'm so glad that I heard it from Ken who many of you know. And we at once set out to do something fitting to commemorate Mary's life work. And we met on Zoom with David Smedley, Ken's husband, and Richard Meddop. Dr. Richard Meddop was also an alumni of this program. And we had a wonderful meeting to create something. And many people in this room were also going to interview something. And what we didn't expect was, that the Segal Theatre was going to stay closed for so long. And then we tragically, we lost Ken to an illness and then Ken passed away. So we have observed the Ken tonight next to David, a chair. And we have on stage an empty chair for him. We decided that all together that the little pony would be the feature of the memorial. This was Mary's last translation of the memorial. This was Mary's last translation. And I think you will understand why it was so important and it's so fitting for this evening as we develop the material for the memorial and everyone shares their remembrances. But I'd like to offer the comment that 23 years ago, 23 years ago, I scared right here in this space with Mary. We were looking around because the sound panels had not been installed yet. The acoustics were terrible. We were trying to just come downstairs from the classrooms and offices, figuring out how we were going to do the very first reading ever in this space. And I remember us thinking, oh, it feels kind of corporate. It doesn't feel like a theater. And it's so lived in now 23 years later, but all of the growth with all the work that Mary did from that first reading that we did with Liz, a public performance of leading his translation. And with the nature name, probably came from all the way from Spain. And because it was part of our class, we sat together around a table for a seminar and he was like, okay, here's what I'm working on this translation, that translation. I have this visitor very famous playwright coming. We're going to do a reading. You'll play this role.  I see what you're doing. And so that you go along with what you were saying about, there's just, there's this qualities, Mary, the three old schools, kind of apprenticeships, title of teaching. It's like, here's what I'm working on. Here's what I need from you. And boy, you get a lot back. And that is the great marriage of the Martin E. Seville Theater Center and the Department of Theater. Just it was a great professionalization tool for me. And it exemplified everything that Mary was in doing the work, doing the research and disseminating there. Mary and Peter Holtz was a professor emeritus of theater here at the Graduate Center. Roger Holtz or Mary, as he insisted we call him, was elected a corresponding member of Spain's Real Academia Española in 1986. He translated into English major playwrights including Agnés Aymar, Sergei Valverde, Josef Maria de Ney de Janeiro-Papu, Marta Bucciada, Luisa Cunille, Guillem Clouet, and Jose M. Rodriguez Meniz. Many of Mary's translations were published by the Martin E. Seville Theater Publication Rank. Mary was also a visiting professor at Yale Hunter College, Institut de Theater in Barcelona, and his PhD was from the University of Illinois, Urbana, Japan, and his publications include The Contemporary Spanish Theater, 1949 to 1972, and the Nueva York Free Place, Drama Contemporary Spain, 1985, and Magical Places, the Story of Sparberg's Theors, and their entertainments from his hometown in South Carolina, 1900 to 1950. His translations of Contemporary Spanish and Catalan plays have been staged in New York, London, and Australia, and by regional and university theaters throughout the U.S. He has done more than anyone to introduce Spanish ways to English-speaking audiences. But tonight, this theatrical memorial will feature Professor Holt's final translation, The Little Pony, which scenes read by actors Marisa Gababi and Montgomery Sutton in partnership with our beneficiary tonight, Healing Tree, an incorporation with Theater Authority Incorporated. Before we begin, jumping in to the stage from scene two, I'm going to offer a brief synopsis of the play.  Daniel and I are trying to confront the brutal school bullying that Timmy is subjected to, a school that protects its bullies and a couple that tries to be the best for their child Timmy escapes to an imaginary universe to protect himself from the insufferable reality. And now we jump in to scene two. Irene sits down beside Daniel. I'm sorry, I forgot to have a note on the mirror. I know, I saw that this morning the minute we were out of the dorm. How can I be so absent-minded? Don't worry, I'm used to it. It won't happen again. They told me it was urgent to speak of one loss. I handled this appointment and I was able to get away. Why so urgent? What's going on? To me, you have problems. Your children at school are bullying. Bullying? Timmy? Yes. Since when? Since the beginning of the school. What did they tell you? Did they give you a name? No. They didn't tell you who it is? Which one? The boy who was picking on it. It's not just one boy. So, there are several. A group. Not that I know. I don't get it. If it's not one boy or a group, then just who is bullying him? The whole school. What do you mean the whole school? What does that mean? That in the class someone wants to sit near him. If someone speaks to him at recess, it's to the sultan. The desk next to him stays empty, so the school will be empty. And they're just telling us now? So it seems. Is this something new? Is it this term?  No. And he knows? How could he not know? I mean, you went to talk to his teacher. No, not that. I wanted to discuss it. And what else did they tell you? Did they give you any kind of explanation? What's happened? I mean, that all the children in the school turned against one boy. According to the principal, he'd speak hard on the right path. On the right path? I'm speaking with the teacher when the principal came to the office and asked to take lives along. I told him yes, but I was. And then he told me that we probably hadn't realized the gender. But that path, like that one, wasn't the most suitable for sending child to school. Explain it to me better, because I don't think I get it. Last summer we went into the stationery store. It was hanging on the wall on an encounter. And he saw it and said he wanted it. Do you remember the idea? And I told you so. But according to you, it was a normal, ordinary backpack. And the boy liked it. You didn't understand. Now, we weren't going to buy a home. What are you trying to say? But we talked about it then, but you weren't listening to me. Hold on a moment. What is there about a backpack with some cartoon horses on it that an entire school turns against the 10-year-old boy? Thank you, too. Nice to meet you. They'll be coming back. They will be coming back to do some later scenes even after a little discussion. I'd like to call Dr. Richard Nettle up here who can, rather than anyone else, contextualize what we just saw, which was the last, from the last translation of narratives. Very long. The question is, why did he do this translation? He was already 90 years old. He was already tender. He was emeritus. There's a thread that runs through all of his translations. The things that interested him, the things that he wanted to bring forward for us to discuss, for us to learn from. Now I'm questioning his age. I thought he was 96, but that's okay. Because that was part of now. We never knew what year he was born. That's where the thread starts. Because Marion's family was old southern structure. His mother married his father. He was the only child of that marriage. His father had been married before and had several sons and daughters that were all older than Marion's mother. So to say that Marion was an only child is probably more correct than to say he had brothers and sisters. Because they were all out of the house. And when I say the old southern structure, the father married the mother out of a need to have the house and himself taken care of. Marion's mother had a sister who was a school teacher and taught Marion everything he needed to know, probably all the way through the sixth grade, but at least through kindergarten and first grade. They lied about Marion's age and he skipped kindergarten. How many people can you say that? Marion Peterhol skipped kindergarten. He was not the tallest person. This is during the depression. He is the youngest person. And so his school life in the very beginning was very much of the same type of isolation that the character we never see. But we can reject everything in here is bullying. He never talked about being bullied, but he never talked about close friends. This is kind of a theme that runs through much of his translations. This PhD dissertation was on Jose Locas Rubio who was not highly regarded or definitely not as highly regarded as Guero Valle who he translated later. He was someone who wrote comedies and not in the Spanish term but in the English term who actually was in Hollywood and met Chaplin and they became friends because he would do the Spanish dialogue for silent films. His genre could have been called zany comedy but there was always an element of sadness about them. And just to give you some examples, there was in August we played The Pyramids in which a character needs to make money so she rents out her house under the stipulation that though all of them won't be living there, they don't recognize the existence of the other people. There's also one called The Last Connection in which a woman who is totally isolated, totally alone, has one major prized possession and she puts an ad in the newspaper and she has people come to the house under the guise that she's going to sell them this but it's really her last connection in the sense that she is doing this only to have a connection with other people. The plays that Marion decided to translate are very much the way he gathered friends around him. I always told Marion that it was the lost boys in the sense that whenever someone was, he felt they were lost or they were somehow not being listened to, those were the people that Marion adopted and took care of and protected. Marion was a protector. I guess there was one way I was going to finish this and that was to say one of the other advantages from Marion was to sell the fact that Spanish theater is theater it may be written in another language but the United States tended to show its prejudice about Latino, Latinx, tell me which one it is. In the sense that Spanish theater was somehow always looked down upon because of the language that it was written in and that it is, well, I guess it can be hand stitched into a pillow. Marion's theme was Spanish theater is more than border. We have Gary Lace here who has also translated people like Connie Salon which was one of Marion's translations. Brera La Ayo was very political in the sense that he was arrested during Franco. That was the other thing with local circularies that he managed to make it through. I think that's another theme that runs through Marion's translation is that he always looked for the people who had found some way to make it through. Papito and the Catalan they survived the Franco era where their language itself was being eliminated and erased. And I think that's what drove Marion into teaching himself Catalan in order to be able to then do those translations to make sure that that underdog survived. I definitely feel that underdog experience in Marion. I felt like he was a good champion for me. That's probably why. And I think that we came together on the project with that intense spirit and that's such a perfect marriage of the healing tree, nine profit which seeks to help people who survived trauma and let's play the whole pony and just the spirit that Marion carried with him wherever he went of helping. I would go to a press for the fortunate board like I like this underdog. I'd like to introduce David Smedley. Dr. Ken has been a husband of David Smedley who is a very close friend of Marion. I guess I'm kind of a doctor for proxy because I know everybody here and had with Ken along his way of teaching his entire presentation. But I just wanted to speak from a friend level that I knew Marion. I was friends with him for 20 years while Ken was getting his degree here. While I was, while Ken was in Abu Dhabi for eight years in the past, he died last year. I worked part-time in my job to accommodate this long-term relationship and I had Fridays off. So I would do Museum Fridays or Marion Fridays. And I got to contact Marion by text and make sure that I could come. It wasn't an easy process. It was a very long drawn-out process to make sure that it was okay to join him for lunch on our Fridays. As you can imagine, it was quite something.  But I loved it. So whether committing or depending how we felt or if he could walk or if he just was under the weather, it depends. We would go to our usual place for lunch. We would have the same thing for lunch on the same walk and we would talk about the same thing every time. He would first ask about our cat Toby. He never met Toby, but he loved him as if it was his own. Then we would talk about Trixie, his cat who died a few years before. We would catch up on the week, my week, all the horrible things that were happening in the world. But honestly, I couldn't wait until we got to the good stuff, which is he loved to tell the stories of traveling, Spain, him being a writer for Gorba Delft, sorry, Gorba Delft's typist. And I loved Gorba Delft, so I couldn't get enough of these stories.  And of course, his love for opera. He repeated these stories all the time and I didn't care. We can weave a story with eloquence and I was his captive audience. Marion was Ken's shadow advisor while he was writing his dissertation. I don't know if I'm allowed to say that. But Marion was a protector of the underdog. I wrote that down too, so it's interesting. And the votes he saw a potential in, Ken fit that profile and the two forged a friendship outside of his mentorship. I can say Ken definitely carried this on in his career. Ken was definitely a protector of the underdog. And of his students. As a result of Marion's friendship, his kindness and his guidance. So that was Marion's gift to his friends and his colleagues. That's all I wanted to say that we lost someone very rare. I'd like to bring out Dr. Dean Bremerton. The end of my dissertation advisor. Look how she turned it out. Okay, and I brought a prop. I've done this before. So I first met Marion in 2004 when I joined the faculty at the Graduate Center. Even though by then he had retired, Marion gave me his sparkly, warm, welcome at the theater program semester opening party that fall. And until his help recruited it, he was an enthusiastic and tender at all such gatherings. He always showed that it was wonderful. Always curious to hear about my translation and research projects and travels while chatting passionately about his own. When we met, I already knew of Marion's important contributions to Spanish and Capitan theater, particularly a few of his translations. But I first come across Marion's name when I was a graduate student and purchased a used copy, this used copy of this book, which is part of the P.A.J. publication series, Drama Contemporary. I'm sorry, Bonnie Rump is not here because she's the one who published it. It was George Woodmere, who was the founder of the Latin American Theater Review, the largest U.S. Latin American Theater Journal, and one of my own professional mentors, Marion had edited this collection of four plays by Latin American novelist playwrights. Cleverly connecting with an eye on the market which Marion always had and recommended for. Cleverly connecting Latin America's well-known literary boom with its less well-known but equally accomplished theater, novelist bloggers. Marion's own translation contribution here was toy and author Antonio Scaramica's Burning Patience, a play about Pablo Neruda through friendship with the young poster. The Scaramica had adapted from his own sweet play, which in turn was transformed into the 1994 Italian kid in 14. Marion's translation practice stands out to me for its linguistic precision and care, but even more so for his commitment to staging. Marion would complain about English language translations that were too literary and not envisioned for the stage, which he adamantly and I think correctly considered the goal of any translated play. He worked closely with playwrights and producers to see his translation stage. He published multiple affordable translation collections, many of them with the Segal Center as he noted, and his translations were very successful, especially in U.S. regional and university theaters and I want to underscore that because these are arenas that are not known for their international play programming, but with far more audience reach than New York, though his translations were performed here as well. In fact, Marion had two regions. One handling his Spanish and cup of wine playwrights and the other representing Scaramica and who, according to fellow translator Phyllis Zatlin, secured Marion more than 20 different professional productions of bourbon patients. I know only a couple of U.S. based theater translators who have the same language and their own character. I'll close by saying that the last time I saw Marion was at Vincent Parton. I've gone there with our mutual friend and London-based colleague, Maria Van Gallo, in fact, my name was in one of the pictures we were taking there. Maria and Marion showed an expertise and compassion for a Boston-owned theater and even though, by then, Marion's health was not good, his spirits were in great form and he was piercingly interested in learning what shows we were seeing, where we were traveling next, what we were writing to get the picture. So much of that resonates with me, too. I mean, I remember him at the theater, like, every time he was doing a show, he would comment, he would define that's in the seats, like, it's this intensity of, let's talk about what you just saw in the thing, and he would come to your shows as well and do the same, he had so many conversations with Marion in the seats. Like, there wasn't even a ton of time to chat and a lot of it, we had to do it right there in the middle of the role of leading up against the seats. Sometimes he would say, sometimes for a long time, a lot of the theater would be out. I think it was quite a surprise to hear Jeanne talk about Marion from the first part to go to the student, actually, and finding a skarmish translation in her book. I was his last class, I was his last class that Marion taught already at Professor America's here. And Dr. Jim Wilson, who is now our executive officer, head of the theater program, the director of the theater program, the executive officer, head of the theater program right now. It was also a student of Marion's and I feel like we'll elaborate. I'll just do it. Thank you, everyone. Thank you for organizing this, this is terrific. And it's Kim and Frank said, I am currently the EO of the theater performance program. I'm also in a long, and now I think I can also say that I'm also lost for it. We considered it as well. And I'll begin by saying, it's no exaggeration to state that Marion Holt really is the basis of my career. When I applied as a non-retriculous student in spring of 1993, exactly 30 years ago, Marion was the acting EO. He allowed me to register for classes for the following fall, and I think what else is, as they say, history. Actually, I did not meet Marion at the old 42nd Street Graduate Center. We met accidentally at Splash Bar. I've heard some people like Splash. Splash was a notorious day half-spot in Chelsea. And it was also famous for musical Mondays, which every Monday night we would show our fabulous Splash Bar in stage and screen. He was there with an old friend. I was there always. Frankly, musical Mondays was my nirvana, and I loved being among the streaming musical theater queens. And they would throw stacks of cocktail napkins in the air to watch them fall like feathers, whenever there was a particularly memorable moment. I remember Marion was being used by all of this, but he was a good sport. For years, though, we laughed at Splash with its go-go boys dancing on the bar with the sight of my first office hour, the EO of the theater. In all series, Marion and I hit it off immediately. And throughout my graduate career, we frequently got together on shows we had seen in New York, discusses translated plays that were performed in Spain, and talk through my own research procedures. He was extremely generous, and I recall him allowing me to attend his another theater class when my idol, Charles Bush, had joined as a guest speaker. Marion also gave me feedback, encouragement, and advice as I prepared for in the Spanish language. And frankly, I couldn't have done that without him. Today, I can't look back at my years in graduate school without seeing him there. Marion was never actually a teacher, but he taught me so much about world theaters, academia, and the art of translation. He was never my formal advisor, but he offered invaluable guidance as I moved from non-matrix to matriculate students to candidates to eventually PhD. And Marion was never my departmental colleague, but he showed me, by example, what it means to be a deeply engaged, empathetic, and magnanimous faculty member. I want to thank Marion and in tribute to the memory of this kind and gentle man, I've reportedly grown a stack of confidence in him. Did you know, Marion, did you think he came up? I also have formal mates for anyone who prefers to. Can I read this kind of question? Can you hear me? Can you hear me? Can you hear me? Can you hear me? Can you hear me? Can you hear me? I think it was at the revival of Henry Salome's Literal Lemmon at Puerto Rico Traveler Theater in Highland, Louisiana, and so was my you probably mentioned my former professor, my mentor, Phil Isam, and another extremely accomplished theater translator. I don't know what's going on, I know he just written a play and he'd get Phil as well. They were going back and forth, and I said, you know what, I'm going to find that play. It was so long ago, when I went to buy it, I actually called my university books to order it. And, of course, that is an hour after I think about it, the Book of Raleigh from Highland. I went to my Brooklyn apartment, and here it is, see what you can do with it. I translated it, I told Charles, I translated it, and I said, I'm never going to publish three different trailers in one volume, but in fact, here it is, three comedy that I'm jumping to the end. And I said, of course, I was never at his famous West 73rd City apartment. He said, I'm an older guy, come get the manuscript. When I got it, my heart said it was an immunogram, but that's how it was long ago. I thought I had problems with it. I thought I had problems with who had a UNA, and I still think he's not maybe doing it. If you retype it, I'll take you to lunch. That was a piece of art. First of all, many lunches. So I wrote it back to him, I don't like to change anything, it would be a period missing, and that's when I got my tutorial, my informal tutorial to marry the one hour written going through the manuscript, up to that foot, and I was really happy with the translation. I'm hoping these stories will use you. Nothing else. I was asked to write a short remembrance about him for there for a special issue of his strino. I was grabbing my cross Phyllis, who as I call her teacher, mentor, colleague, friend, but probably 50 times with another picture. Where was this picture from? What theater is this? Who is that stating that as we were going over it, I realized very quietly the kind of guy was that marrying has been in my life for 30 years. We waited, I don't know how many pictures, did you saw one of them flashing up and forth from the Thalia Theater with a high name fact? And we have a big strino series now, E-Day, Susan Grandbury, and others, but we have panels together. We are in a strino panel together in Delaware, Ohio, and an altar conference panel, and even one I've made to two films a month. And I have to see his translation of where we're from, here in New York. Also Las Meninas before that, so I think Boyle, right? And then you're pulling me out with a sage reading, and so on. He came to the English language debut of Primeter, I feel as well as Grandbury, it's Primeter. Life is a dream, my translation, and also a sage reading of the Las Meninas, which I call the Rigma Role. That was 30 quiet years, and many pictures and it sort of shocked me in some way that I might have been so professional life, so intertwined. I hear your reminisce into the dark, what can you say about it, fantastic guy, right? Reward is learning lightly, talented, accomplished, kind of generous, I might be underdog, but I'm trying to figure out I'm a lost boy. Anyway, quick and a smile. I'm glad to hear a joke, including if I remember correctly, an off-color one, leading always to like a company, and I call him in that my little references are published, and you know, it's grease. I wonder if anyone knows as I'm sure, I was a little bit surprised, right? One of my last visits with him, first of all, he gifted me a dictionary, which I don't particularly use. But we were flipping through a scrapbook. It may have been his what kind of software in the theaters, or it may have also been a thing to it, but there were a lot of pictures of him, there he was, I think one of them about him acting, he was in a role as a waiter, right? And I was surprised to see him, I didn't know if he had had an acting career, and as we got to the 1940s he was beautiful. And it took me back, and I don't know why I should be surprised, there was a draft, and there was a world war, raging, but there he was, and he told me how lucky he was in the war, for two reasons. He was shipped out to the Asian Pacific to Saipan, and where did you do this? I was so surprised to hear it, to see him there. By the time he got there, there was a buzz that something big was going on, you know, everything's taxi-free, and no internet, and in fact, he felt the tremor of the animal the whole time, he was, this is when a rock comes in, close enough to sense it, far enough not to be a fact, and he also told me, I think I made him very lucky, you know, I think, Saipan was one of the bloodiest battles of World War II, so much so, it was the only one in which both commanding officers were killed.  So, Mary, we all miss you, and we'll be easily prepared. Can I just say I want to say a little bit about his service? I don't know. Do I? I'm recording this. Oh, I'm sorry. Of course, marrying, being married, people that he was closest with during World War II were the women who were the prisoners of war, and that's who he was running around. It wasn't about the service, it was about these poor women that he needed to look after. It was that too, Mary. And also, his service in World War II after he went to college, the G.I. Bill, and that is how people in our education began brought him to us. I'm very interested in that. I'd like to invite anyone else who would like to say something right now about Dr. Mary and Peter Holt. I know I've been in correspondence with people where I've never met in person about memorial and maybe working and have to meet the same other students. My name is Jason Ramirez. I'm a graduate of the program. I came in just before Jim for the first time, because I wanted those people to help me through at the end. But I'll tell you something about Mary. I was the first Latino student that did in my time at the Graduate Center. I was a CUNY student. I went to Lehman and went to Hunter, and I came to the Graduate Center. I was just looking for things, and Mary and Brad called me into his office. And he said, Oh, I hear you're Jason. And I was like, Yeah, sure. I didn't know he was. And he said, I have three things for him. And I went, okay. And he handed me a book. And he said, this is Antonio Scanova's Death in the Maiden. He goes, here is a video cassette of Intara's production of Death in the Maiden. And he says, Billy Rose, Peter Fletcher, and he said, And here is actually my copy of a DVD given to me by Intara Scanova of his film version from Germany. And he said, so I'd like you to study all of this and write papers on this. And that was my start. So I definitely feel like I was the last boy because I didn't know my way around at all. And Mary made it his point to come find me. And I was very grateful for this. It was Dortmund. Did you mean Dortmund? Yeah. We all have started on that from the speech. Hi, my name is Stephen Capsudo. I met Mary when I was about 24 years old. I was one of her students. I never went to CUNY or any place to marry and talk. But I was sitting across from him at dinner after a production of one of his translations in Billy. And I tell what your name is, it's Stephen Capsudo. And this is how his mind works, right? He had read a translation I had done when I was 22, a theater translation. And he remembered it. And he started analyzing it. He's like, you're trying to be translated. I looked at a page where, and he starts analyzing this boy. It's a string of dialogue. It's one series of puns after another. And I'm like, you know, I know he probably can do this with like 50 different people who he's read over the last year. So we just sort of kept in touch and we would get together for lunch. The famous lunches and marrying department or the two restaurants that we would walk to and have, as you said, the same meal over and over. And he's who I learned about all of the Catalan lyrics who I wasn't translating, what about anyone who understands the ones who I was translating. So he's just a very special person and they wanted him to know him when he was 60 and everyone was 24 and he was a very long and productive friendship. Hi, I'm Phil Alexander, graduate 1999 from the program and a student-american who's met a theater class and also worked with him as a graduate assistant. And back in the days when they had the black and green monitors and yeah, I think I was I was like, I can't remember what my job was, but I think I may have been like taking his manuscripts and then typing them into a computer format or something. And just I'm glad to hear more about Mary Ann's life and scholarship and you know, I always thought of him as this just wonderful kind person and teacher and yeah, that this I saw him I didn't so much get this sense of the champion of the underdog of my personal experience, but just that he was just this undying interest to to get the message out, to get the learning out to make sure that other people knew what he appreciated and knew what he saw. Not because of the arrogance or anything, just because he was just so enthusiastic about the art and we didn't want people to appreciate that and not to see the connections that he made. So with that perspective, I felt like he was you know, just this a hard advocate if you will, a theater advocate and yeah, a teacher in his films and in his action. Thank you. So just to make sure that's everyone who wanted to say something right now. So I think that's underdog and character and I also want to unofficially acknowledge the fact that the actors and I came together through the faculty diversity inclusion membership team at the players in Bramsey Power and so we all carry very much that spirit along with our community.  I want to jump back into the little pony and maybe we can have a little bit less of a formal discussion based on a couple of other scenes we have for you. Before we do, I just want to read just something that you find a lot of this in Marion's own work about translating The primary aims of the translator have been at all times, playability and recreation in English in so far as possible of the quite distinct revelations of each play. This particular photograph I'm reading from is from the three plays by Witte Wario but he says similar things and all the practices into the little pony as well. If you experience a translation that it never occurred to you that the play was ever in any other language and I definitely feel that characterizes what Witte said was played here as translated by Marion P. So we're going to jump into seeing a sex from the little pony where the framed picture of Timmy has remained on the wall. Irene is standing in the middle of the room suddenly we hear the sound of a key in a lock and then into her clothing it's Daniel who enters, upset, unkempt and with his shirt outside Where is he?  Calm down.  You don't know how those people received me, the way they treated me and the things that they said to me.  But I should have done was take a can of gasoline and set the whole school on fire. Then the boy was ashamed and curious all of the shouting in the hallway. He didn't know where to turn and very unconscious. He just asked me where is he now? In the bathroom. The police were up in the hall we found him alone and trying walking down a highway so you fix everything by getting in your backpack and going to the school. Sorry. What do you mean? Come on, explain yourself. It doesn't seem to me fair that they believe the other children without a doubt are the ones who are going to get in my backpack and I don't know what to do. I don't know. I don't know. I don't know. I don't know. I don't know. They believe the other children without even asking Timmy his version. It amazes me. We don't take someone for granted. It ought to make you ashamed. Ashamed? Because I say what I think and I'm not a sheep following the block. You want to say? We use that all the time. That man, Irene, the principal, what he wanted from the start And he succeeded. They haven't given Timmy the right to defend himself, because the principal has done just what you did in him. Try to understand what I'm trying to tell you. The school is delighted that they picked on Timmy, and they point him out, and they keep permitted for... You realize that? You shouldn't print out.  When he looked at the boy and spoke to him, there was anger in his voice. If you had seen him, how he clenched his fists and the look in his eyes, I'm telling you now in truthfully, I don't know how I kept him taken by the neck and slamming him against the wall. They're going to take action in the matter, and file charges. We call them over and over again. They are trying to take an option, but it's impossible. They're very upset. You know what's going on. I don't even think that any father would have done in my place. Things aren't done that way. Things aren't done calmly and politely. Calmly and politely, it will get you nowhere. They didn't say that. Yesterday, you said just the opposite. But you agreed with me just once about something, because it seems like someone's paying you a salary to turn against me day and night. You're not as easy to deal with as you think. Not by a long shot. Not as understanding.  Don't give me that one. You said it yourself. There are people who will never let into your path, according to you.   And we all do things that aren't right. Everyone.  I read. And we're great. I said don't keep this up. Damn it, enough! Believe your one way. When actually, we're very different. Anyone else, like in reality, you say, hey, just like those kids, you've just threatened school. One thing to laugh at somebody. And another very different thing to insult and attack a person. Don't compute it. Don't compare me with them. I'm comparing you, because he isn't exactly the same.  I'm not justifying anything. I'm only saying it. Yes, you are. You're justifying it. It's plain to see.  Or don't listen to yourself when we talk.  It's not so difficult. But you always want everyone to see things your way. And I can't believe you... I don't know what we're doing here. Or why do we keep on arguing? You just thought more thoroughly, these were real things. I'm not arguing with you. Let them arrest me. Let them do what they like. But I swear to you, before that, I'd get this way. It spells to me through the school. Before that, I will see that he's out of a job. That's all I could for all the teams. They are uncomfortable to change.  But you tell me... that you... aren't even capable of understanding why I did what I did. I'm sorry, but what do we want? It's for me to improve and... I can't believe it.  They have had to call the police.  What you ought to do is stop deceiving yourself and start to see things as they really are. Tim ran away from school and was lost for more than two hours. He was with his family in danger and you can't stop doing it. I... I have not put anyone in danger. I would defend my son, which is different. That's why they don't bring in charges. Bring in charges and put me in jail. But you'll see how from now on they will damn well be the boy in peace. Instead of protecting him and worrying about his aid to what I do, we can all end on his way, worry about camouflaging him, and make him serve you well. The other day, he was playing with his cousin. They exchanged clothes. She put on his shirt and he put on her blouse. As soon as you realized it, you made him take it off and put his shirt back on. I did it because her parents would be coming to do it for us. You did it because you didn't want your brother to see him dressed like that. You wanted to go outside into the street that way and have someone do something to you. How many times do I have to tell you? Is that so difficult? He wasn't outside of the street. He was right in here. He's growing up by being in the problem and you don't want to recognize it. He has only put gun. Is the boy starting to make his own choices? The boy is wrong now. Doesn't mean that he can make the right choices. We aren't going to get anywhere with this. Besides, we're talking about different things. Well, I don't think so. I think basically we're talking about the same thing. It's just that what you say sounds nicer than the way that I put it. Going across with the only backpack don't want to see it.  Hell of a mistake.  How else can I explain it to you? A rose bush is going to keep on producing roses. No matter where you plant it, or how you water it. In seventh, in alphabetical order, course by course and class by class, the names and photographs of the pupils at the school where Timmy is enrolled begin to appear in succession. The pictures of some of the boys and girls begin to be imprisoned within circles drawn by a red felted pen. Near the cages of red ink appear the following label, physical aggressor, verbal aggressor, or silent accomplice. The list of pupils continues filing until their faces fade, some mounting into others in a dark, macabre and sinister children's dance. Scene eight, darker and noticeably larger, the house now has a rather sinister look.  It is an empty space. There's nothing. Irene, standing by the door, is holding a plate of food. Daniel is sitting in the armchair holding a file that neither looks at or speaks to or interacts with the other. They only look forward like a pair of statues. There is the impression that time has stopped. Two days since he stopped, what's the part? Why do you think so much? What's the future? And the woman in charge of the cafeteria for being there, being the police, what are you saying? There's charges. The attorney says, well, by the way, when and who do? So I don't know what information about the investigation they've done doesn't add up. And they know it very well. It can't be that the level of bullying has been exposed to is only 5%. When Timmy started identifying the aggressors, he identified 253 students. How do you explain that? The school's application is to activate protocol. And the principal didn't do that. He washed his hands in the matter, used the backpack as an excuse and put the blame on us. Are you going to spend the whole day like this? In silence, not opening your mouth? Worry. My headache is starting to hurt. Well, we have to reach an agreement. Are we going to do it or not? I'll say it again. I find a word difference since he's returned to school. Yes, I know that. The person who invested the money said we don't have to worry. Right? Do you mind if I change in the morning? Yes, yes, they do change because until they suspended him and he began to spend all day here with us, the boy seems fine. I really like that. Please. I tell you the thing, we're bad for him at school. You and me, we're friends. Worse. They stripped off his clothes. They threw him on the floor and tried to assault him. What if you and I got anything like that? There are many ways of mistreating a person. And you think we mistreated him or something. In a way, yes. How can you say that? In what way did we mistreat him? I don't know. We could try to film him eat or speak and he don't know what's coming next. I am worried. I already told you that. I'm worried too. We're both worried. That's why we have to talk. Find a solution. A good solution. To be more suggestive as close by and even walk as close. That's a question of how close or how far is. That is not the point.   I don't know. But all this hassle would add new stations and psychologists is doing him harm. And what do we do? Teddy says he prefers to stay where he is and he doesn't want to change schools. Besides changing would be admitting that he's the one who has the problem and the problem is not with him. Maybe the others have a problem, but it is not Timmy's.  And if they hadn't ganged up on him, none of this would have happened to anyone, as simple as that. 153 too many to look for in the school and the congestive away all of it because it is the simplest and most practical thing for him. I guess.  And I don't think it's fair that he should be the one who has the problem. Well, it makes me be finished with this once and for all. Yes, but there are a lot of things that don't make sense. It's not just that. Or did the principal tell you that all the students were calling names and picking on him? Tell us that all the students were bullying him and then say that according to the investigation carried out, the harassment he was exposed to is only 5%. Did all of the students pick on him? Or only 5% of them? Which is it? Was the principal aware that they were attacking him or didn't he realize it at all? And if he didn't realize it, then how is it possible that he called us and met with us to tell us the opposite? Was he drunk? Did he imagine it all? Fuck, I mean, we aren't dummies. He called someone to investigate that. Didn't he follow the rules? Didn't he remember? He forbid the backpack all on his own. Maybe I'm just speculating in the school administration to defend the rules that they like and I'm just going to be talking with no one to do it all. No. The administration and the family of the rules have been pleased that what they can do is meet with the families and come for a grant for making a decision. Sure. But what did they do that with us? I went to the office to see the principal to follow the rules and started an investigation of the principal and the fact that he guessed it to be an alternative. Alternatives? All of the usual procedures. Resulting in more discreet point of attention. When he said to me, he said, No matter how much, I'm prune and prune. The incarnations are going to bloom on a rose bush, on a rose bush. So that is something that my head has never been able to accept because what my head has been determined to believe day and night is just the opposite. I have always been afraid that the child might be different than it wasn't. Like the rest, to that fear that the machines have been growing to the point that on occasions, on occasions I've even felt ashamed of him. Every time I go to the school to pick him up and I see him come out the door, the same thing always comes to my mind. Why have I had to have a son landing in? The things about Timmy, you have always said positive and nice things about him. I mean Daniel, because although it's hard for you to recognize, I have always been like all of those people who take pride in belonging to the great majority and who do so despise. Love of son, whatever he's like, but above all else, right? I can teach you to play every semester since Marianne comes, right? To play with television in 2018. And the scene especially sparks such intense discussion in the classroom. It's amazing, I always ask for a show of hands how many people can't relate to this play, that they don't know what the movie is, that they've never played a role in it, either as a movie or as a movie. And there's not been a hand raise yet. These are the kinds of plays that bring me to the classroom to move the conversation forward in the intensifying intolerance that is being forced by ridiculous legislation that's being passed like, for instance, in my home state of Florida. And we're not moving forward by banning federal security, but by including plays like this one on our syllabus and on our stages. There's still no U.S. production in this play. When I teach it, I show my students images, production skills from around the world, everywhere else. Why not here? I'm going to leave that up a lot of the play. This play was inspired by events that took place in Lawrence, Carolina, 2014. Michael Morales, age 11, was brought to the emergency room after attempting to hang himself from the pump in his room because he could no longer endure the insults and attacks his schoolmates. During the suicide attempt, Michael was without oxygen for several minutes, suffered permanent brain damage and is in a semi-vegetative state. The present attempt is used there because at the publication time of the script, Lawrence is still alive. He has since passed away. He was a fan of the animated series, My Little Pony. The story of the boy, Jason Bruce, nine years old, was forbidden entry into the school for carrying a My Little Pony backpack. The school principal considered it, quote, inviting bullying. If the minor came to the school with a backpack, even accusing the boy of having provoked, quote, disorder in the classroom. The famous animated series, My Little Pony, which paradoxically dedicates its episodes to, quote, the magic of friendship and the values of comradeship, in a specific way, one of the major symbols in the fight against bullying. This play is dedicated to Michael Morones and Grayson Bruce and all the boys and girls who like them have suffered insults and violence without anyone offering them to do anything to prevent it. We're done with the many books that we have collectively brought to the podium. There's a little librarian here of Marion that was not at all scripted. There's no thing on the invitations in the book, but y'all there and people love that. I want to thank everyone who contributed to this and ask if there are any comments given what we just saw or perhaps if the actors were going to speak as people and not as people and not as people.  Did you You're so pretty. Oh my god. I love it. I love it. I love it so much. Yes, I love you. I miss you so much. I know. Do you know where I'm from? No. I'm from Paris. I know. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris. I'm from Paris.


I work with research on nuclear materials and vests and carry out my results in studies on glaciology, which deals with research on glacier and ice caps. Caps are very important in relation to sea level conditions in the future, but the ice model used today contains a lot of simplifications. I hope to be able to contribute to improving these ice models, so that you can achieve diverse simplifications. Subglacial mechanics is really difficult because we have point measurements that we use to try to understand the entire subglacial system on a continental scale. What Anders does is he tries to bridge these two scales from the very fine measurements to the large scale using much more realistic physics looking at individual grains. No one has done that yet in glaciology and hopefully it will tell us a lot more about how ice moves. The most interesting thing for me is that I feel that I can bring something new to this discussion about the subglacial mechanics and it seems to me that there has been something that has been spread that it has been intended to measure in the field or in the laboratory. I mean that my computer models can give new insights. I think it is important to research this subject because climate change and sea level conditions have already affected many people in the world today and in the future it will only affect more people. So it is important that we, for science, do our best to be able to do the most precise and fulfilling research.