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Adam Seelig | |
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| Born | 1975 (age 48–49) |
| Nationality | Canadian and American |
| Occupation(s) | Poet, playwright, theatre director |
Adam Seelig (born 1975), is a Canadian and American poet, playwright, director, composer and Artistic Director of One Little Goat Theatre Company in Toronto. [1]
Seelig founded One Little Goat Theatre Company in New York City and Toronto in the early 2000s. [2] [3] With the company, he has directed dramatic works by poet-playwrights Yehuda Amichai, [4] Thomas Bernhard, [5] Jon Fosse, [6] Claude Gauvreau, [2] Luigi Pirandello, [7] as well as his own plays, which include reinterpretations of classic material. [8] [9]
Seelig stages "poetic theatre." [10] [11] This involves "charactor" (combining an actor's onstage persona with their offstage nature), the "prism/gap" (between actor and audience), and ambiguity. [12] [13] [14] His direction "avoids naturalism." [15]
Beginning with the 2010 publication of Every Day in the Morning (slow), [16] a work of "concrete lyric fiction," [17] Seelig's writing combines aspects of the contemporary lyric with the appearance of concrete poetry. [18] Written largely in the second person, Every Day in the Morning (slow) eschews punctuation, forming a single sentence that is at the same time a "continuous concrete-lyric-drop-poem novella." [19] [20]
The plays Seelig has written since 2010 employ the same drop-poem technique through which "words often align vertically, configured spatially." [12] The format has been described by critics as "a musical score," [18] a "poetry trick," [21] and "eye hockey." [22] The concrete lyric, drop-poem format allows actors to "pace and emphasize the text" as they see fit. [23] [24]
For Ubu Mayor, "a play with music," Seelig wrote eight songs and played piano in the band for the production premiere. [25] [26] [27] The play has been referred to as an "anti-musical." [28] For Music Music Life Death Music: An Absurdical, Seelig wrote seven songs and played a Fender Rhodes electric piano in the band for the production premiere. [29] The sheet music for both of these plays is included in their print and electronic publications.
Music is foregrounded (rather than assigned to the background) in Seelig's productions. [30] Music also plays a key role in Seelig's "drop-poem novella" Every Day in the Morning (slow), with particular emphasis on minimalist composers such as Steve Reich. [22] [31]
From the Hebrew, Seelig has translated works by modern Israeli poets Yehuda Amichai, [41] Dan Pagis [42] and contemporary poets Navit Barel [43] and Tehila Hakimi. [44] With Harry Lane, he translated Someone is Going to Come by Norwegian playwright Jon Fosse. [45] [46]
As an undergraduate at Stanford University, Seelig studied English Literature with John Felstiner, Marjorie Perloff and Gilbert Sorrentino, and Theatre with Carl Weber, completing a BA in 1998 with a thesis on Samuel Beckett's original manuscripts [47] in addition to writing and directing an early play entitled Inside the Whale (named after the essay by George Orwell). [48] Seelig founded a "nebulous, unofficial organization" known as the "Silly Society of Stanford" [49] and seems to represent the university's "stoners and poets" in a New Yorker article that recounts his inability to identify classmate and celebrated golfer Tiger Woods. [50]
Seelig's early years in theatre include directorial apprenticeships at the Arts Club in Vancouver and the Tarragon Theatre in Toronto. [51] An early poem by Seelig was published in Saul Bellow and Keith Botsford's The Republic of Letters. [52]
Born in Vancouver, [53] [54] Seelig is the son of an Israeli father and American mother. [51] [55]
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