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Who We Are

The Aesthetic Realism Theatre Company's productions are an exciting new dramatic form. Our performances are based on landmark talks given by Eli Siegel on plays from world theatre--by Shakespeare, Moliere, Sheridan, Ibsen, Strindberg, Eugene O'Neill, George Kelly, Susan Glaspell--and others. We also present, as living drama, Mr. Siegel's critical discussions of some of the great novels of all time: Jane Eyre, Huckleberry Finn, Pere Goriot, Hard Times--to name a few.

Each production--whether of a tragedy or a rollicking comedy--is a rich interweaving of scenes and comment, having us see the author's intention, the motivation of the characters, the meaning of the dialogue--and what all this says about our lives today. Our performances have as their basis this principle stated by Mr. Siegel:

All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.

Both personally and professionally, we're grateful to Eli Siegel for his understanding of the drama, literature, and the selves of people, including our own.

Our repertoire also includes musical productions--with songs from Broadway, rock 'n roll, union songs, American folk and traditional ballads, Gilbert and Sullivan--performed and commented on by the cast.

And--there are special two-part matinees featuring a theatrical piece, and a performance by Barbara Allen on flute, and Edward Green on piano or harpsichord, who speak about works by Bach, Handel, Mozart, Telemann—and show: We can learn about ourselves from the very technique of a musical composition!

 

See a list of the Aesthetic Realism Theatre Company's Repertoire.



Teamsters National Black Caucus
New Orleans, LA 2009

~ Shakespearean presentations in our repertoire ~

Othello; or, Clever and Deep Evil

"According to Aesthetic Realism, Iago represents the cunningness of evil in every person....He says to people, Look, if you think you've dealt with theproblem of evil that quickly, by making speeches about it and smiling at each other—don't fool yourselves! ... The only way you can fight for good is to keep on understanding evil and never get tired. Otherwise, evil will come upon you, and fool you."

A Midsummer Night's Dream; or, Earthy Whirl

"It comes to this: Shakespeare bows to a world both shimmering and obstructive; gossamer and solid; and the play presents reality in its mysteriousness and solidity. How is that great mix-up of the world, and all the confusion in ourselves, to come to anything that is seen as sensible?....Aesthetics can, while accepting the utmost in confusion, in the moment of courageous acceptance see the music that brings it all together. That is one of the sweet glories of A Midsummer Night's Dream."

Shakespeare and Instinct Are There

"The instincts are either going forward or going away. They are going forward with amiability or going forward with againstness; or they are going away with hate or going away with fear. Roughly, there is a from and to in the instincts....In the meantime, the instinct of Shakespeare is working and, it has been thought, very well. There is an artistic instinct."

 

The Taming of the Shrew

"Shakespeare was solving a problem through these people in Padua that he saw as an everlasting problem of persons....Katharina is the energy in woman looking for a means of showing itself. Because she hasn't found it yet, she is in an ill mood. She represents the desire in ourselves to come to a repose through meeting an energy that we respect....Once we can see the world as beautiful, we shall be in a very fortunate position of not wanting to use our energy in the field of anger in such a manner that we are displeased with ourselves."

Click here for more information about
Shakespearean presentations

 

The Aesthetic Realism Foundation is a not-for-profit educational foundation.





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Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly Eli Siegel, Aesthetic Realism, New York theatre company, New York theater company, Shakespearean criticism, Shakespeare's plays, Ellen Reiss, Anne Fielding, Bennett Cooperman, 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Bennett Cooperman, Carol McCluer, Carrie Wilson, Karen Van Outryve, Timothy Lynch, Derek Mali, Ann Richards, drama criticism, actors New York, acting schools New York, New York City repertory company, Ibsen, Moliere, Charlotte Bronte, Eugene O'Neill, Susan Glaspell, Voltaire, Richard Brinsley Sheridan, Strindberg, George Kelly