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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><strong><b><font
size=6 color=black face=Arial><span style='font-size:22.5pt;font-family:Arial;
color:black'>BREAD AND PUPPET THEATER</span></font></b></strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:bold'><br>
</span></font></b><font size=2 color=black face=Arial><span style='font-size:
11.0pt;font-family:Arial;color:black'><br>
</span></font><b><i><font size=4 face=Arial><span style='font-size:15.0pt;
font-family:Arial;font-weight:bold;font-style:italic'>The Return of Ulysses<br>
</span></font></i></b><font size=4 color=black face=Arial><span
style='font-size:15.0pt;font-family:Arial;color:black'>and<br>
</span></font><b><i><font size=4 face=Arial><span style='font-size:15.0pt;
font-family:Arial;font-weight:bold;font-style:italic'>Decapitalization Circus<font
color=black><span style='color:black'><br>
<br>
</span></font></span></font></i></b><i><font size=4 color=black face=Arial><span
style='font-size:15.0pt;font-family:Arial;color:black;font-style:italic'>“Reducing
the proceedings of the<br>
historic dramma per musica to 75 minutes,<br>
brazenly updating the Baroque accents<br>
and adding two timely prologues,<br>
(Peter Schumann) labelled his<br>
marvellous mishmash a ‘respectful truncation’.”<br>
</span></font></i><font size=4 color=black face=Arial><span style='font-size:
15.0pt;font-family:Arial;color:black'>[<i><span style='font-style:italic'>“</span></i></span></font><i><font
size=4 face=Arial><span style='font-size:15.0pt;font-family:Arial;font-style:
italic'>The Return of Ulysses<font color=black><span style='color:black'>,”
</span></font></span></font></i><font size=4 color=black face=Arial><span
style='font-size:15.0pt;font-family:Arial;color:black'><a
href="http://www.ft.com/">www.ft.com</a>, Dec. 6, 2010]<br>
<br>
<st1:place w:st="on"><st1:PlaceName w:st="on"><strong><b><font face=Arial><span
style='font-family:Arial'>Boston</span></font></b></strong></st1:PlaceName><strong><b><font
face=Arial><span style='font-family:Arial'> <st1:PlaceType w:st="on">Center</st1:PlaceType></span></font></b></strong></st1:place><strong><b><font
face=Arial><span style='font-family:Arial'> for the Arts</span></font></b></strong><b><span
style='font-weight:bold'><br>
<strong><b><font face=Arial><span style='font-family:Arial'>CYCLORAMA</span></font></b></strong><br>
January 24 through</span></b> <strong><b><font face=Arial><span
style='font-family:Arial'>January 30</span></font></b></strong><b><span
style='font-weight:bold'><br>
<br>
</span></b>presented<b><span style='font-weight:bold'> </span></b><strong><b><font
face=Arial><span style='font-family:Arial;font-weight:normal'>in partnership
with the</span></font></b></strong><br>
<strong><b><font face=Arial><span style='font-family:Arial'>Boston Center for
the Arts </span></font></b></strong><strong><b><font face=Arial><span
style='font-family:Arial;font-weight:normal'>as part of the</span></font></b></strong><br>
<strong><b><font face=Arial><span style='font-family:Arial'>Cyclorama Residency
Series</span></font></b></strong><b><span style='font-weight:bold'> </span></b></span></font><strong><b><font
face="Times New Roman"><o:p></o:p></font></b></strong></p>
<p class=MsoNormal style='margin-bottom:12.0pt'><font size=2 color=black
face=Arial><span style='font-size:11.0pt;font-family:Arial;color:black'><br>
(<st1:place w:st="on"><st1:City w:st="on">Boston</st1:City>, <st1:State w:st="on">MA</st1:State>
<st1:PostalCode w:st="on">02116</st1:PostalCode></st1:place>) <strong><b><font
face=Arial><span style='font-family:Arial'>Bread and Puppet Theater </span></font></b></strong><strong><b><font
face=Arial><span style='font-family:Arial;font-weight:normal'>presents</span></font></b></strong><strong><b><font
face=Arial><span style='font-family:Arial'> “</span></font></b></strong></span></font><b><i><font
size=2 face=Arial><span style='font-size:11.0pt;font-family:Arial;font-weight:
bold;font-style:italic'>The Return of Ulysses<strong><b><font color=black
face=Arial><span style='font-family:Arial;color:black'>” </span></font></b></strong></span></font></i></b><strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:normal'>and</span></font></b></strong><strong><b><i><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-style:italic'> “</span></font></i></b></strong><b><i><font
size=2 face=Arial><span style='font-size:11.0pt;font-family:Arial;font-weight:
bold;font-style:italic'>Decapitalization Circus<strong><b><font color=black
face=Arial><span style='font-family:Arial;color:black'>” </span></font></b></strong></span></font></i></b><strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:normal'>: two separate performances presented in
partnership with the </span></font></b></strong><strong><b><font size=2
color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black'>Boston Center for the Arts</span></font></b></strong><strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:normal'> </span></font></b></strong><font size=2
color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black'>as part of the <b><span style='font-weight:bold'>Cyclorama
Residency Series</span></b>.<b><span style='font-weight:bold'> </span></b>Performances,
Art Exhibit, and Cheap Art Sale run from January 24 through January 30.
All held in the<b><span style='font-weight:bold'> Cyclorama </span></b>at the <b><span
style='font-weight:bold'>Boston</span></b> <b><span style='font-weight:bold'>Center
for the Arts (BCA)</span></b>, 539 Tremont St., South End, <st1:place w:st="on"><st1:City
w:st="on">Boston</st1:City></st1:place>. Wheelchair accessible.
Tickets for the performances available for purchase [cash or check only] in the
Cyclorama one hour before each performance. For advance tickets, log onto
<a href="http://www.breadandpuppet.org/">www.breadandpuppet.org</a> or call
866-811-4111 (toll free). For detailed information regarding the
week’s events, call the BCA’s Bread and Puppet Theater information
line at 617-800-9539 or log onto <a href="http://www.bcaonline.org/"><font
color=black><span style='color:black'>www.bcaonline.org</span></font></a>.<br>
<br>
The award-winning <b><span style='font-weight:bold'>Bread and Puppet Theater</span></b>,
featuring Artistic Director <strong><b><font face=Arial><span style='font-family:
Arial'>Peter Schumann</span></font></b></strong> and his troupe of <st1:place
w:st="on"><st1:State w:st="on">Vermont</st1:State></st1:place> puppeteers,
returns for a fifth year to the <b><span style='font-weight:bold'>BCA’s</span></b>
<b><span style='font-weight:bold'>Cyclorama</span></b> bringing their signature
powerful imagery, masked characters, and giant papier-mâché puppets. This
year, their residency includes two different puppet performances, <strong><b><font
face=Arial><span style='font-family:Arial'>“</span></font></b></strong></span></font><b><i><font
size=2 face=Arial><span style='font-size:11.0pt;font-family:Arial;font-weight:
bold;font-style:italic'>The Return of Ulysses<strong><b><font color=black
face=Arial><span style='font-family:Arial;color:black'>” </span></font></b></strong></span></font></i></b><strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:normal'>(</span></font></b></strong><font size=2
color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black'>January 27-30, evening performances primarily for ages 12 &
older), <strong><b><i><font face=Arial><span style='font-family:Arial;
font-style:italic'>“</span></font></i></b></strong></span></font><b><i><font
size=2 face=Arial><span style='font-size:11.0pt;font-family:Arial;font-weight:
bold;font-style:italic'>Decapitalization Circus<strong><b><font color=black
face=Arial><span style='font-family:Arial;color:black'>” </span></font></b></strong></span></font></i></b><strong><b><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black;font-weight:normal'>(January 29-30, </span></font></b></strong><font
size=2 color=black face=Arial><span style='font-size:11.0pt;font-family:Arial;
color:black'>family-friendly matinees), along with </span></font><b><i><font
size=2 face=Arial><span style='font-size:11.0pt;font-family:Arial;font-weight:
bold;font-style:italic'>NOLANGUAGE</span></font></i></b><font size=2
face=Arial><span style='font-size:11.0pt;font-family:Arial'>, <font
color=black><span style='color:black'>a week-long political art installation
(running January 24-30, with an art opening on January 24).<br>
<br>
Although all Bread and Puppet events have a seriousness of purpose —
a few laughs are always thrown in!<br>
<br>
<u>Detailed listings information</u>:<br>
<br>
<u>Evening Performances</u> [recommended for ages 12 & older]:<br>
<b><span style='font-weight:bold'>Bread and Puppet Theater: </span></b></span></font><b><i><span
style='font-weight:bold;font-style:italic'>The Return of Ulysses<br>
</span></i><strong><b><font color=black face=Arial><span style='font-family:
Arial;color:black'>Jan. 27</span></font></b></strong><font color=black><span
style='color:black'>-Jan. 30, Thurs.-Sun., 7 pm<br>
</span></font></b><font color=black><span style='color:black'>$12 general
admission [$10 students, seniors, & groups of 10 or more]<br>
<u>Description</u>: </span></font>This "respectfully
truncated," rough-hewn, and bold DIY adaptation of Claudio Monteverdi's
opera was first developed this past June by Bread and Puppet in collaboration
with the Theatre Department of Concordia University in Montreal and the
Montreal Baroque Festival. The production was initially performed as a
dress rehearsal in the DB Clarke Theatre at Concordia and then presented as a
festival performance in the plaza of the Centre Mondial. During July
& August in Glover, VT (Bread and Puppet’s base of operations), the
opera was pared down to approximately 75 minutes, including 10 minutes of
prologue. The performances have been conceived to include 20 volunteer
puppeteers and 15-20 volunteer singers and instrumentalists in the chorus and
orchestra with Peter Schumann playing the role of Penelope. Schumann
describes the plot as follows: <i><span style='font-style:italic'>"In
order to commit genocide on their competitors, the Trojans, the tricky Greeks
employ their multitalented sky, full of custom tailored divinities, to justify
the crime, just as we employ our Judeo-Christian sky, occupied by a divine air
force and permitted by the in-god-we-trust court system, to justify our
atrocities in Afghanistan, Palestine and elsewhere. By order of Jove, the
boss, and with special help from his daughter Minerva, Ulysses finally returns
home, where he has to murder 100 evil suitors in order to be happily reunited
with wife and property." </span></i>The piece includes two
prologues, "Modern Sky" and "Antique Sky." For <st1:place
w:st="on"><st1:City w:st="on">Boston</st1:City></st1:place>, <i><span
style='font-style:italic'>The Return of Ulysses</span></i><font color=black><span
style='color:black'> will be performed by Peter Schumann and the Bread &
Puppet Company, along with a large number of local volunteer puppeteers and
musicians. Informal talk back with the artists follows each
performance. Sourdough rye bread will be served and cheap art will be for
sale after each performance.<br>
<br>
<u>Family-Friendly Matinees</u>:<br>
<b><span style='font-weight:bold'>Bread and Puppet Theater: </span></b></span></font><b><i><span
style='font-weight:bold;font-style:italic'>Decapitalization Circus<br>
</span></i><font color=black><span style='color:black'>Jan. 29-Jan. 30,
Sat.-Sun., 4 pm<br>
</span></font></b><font color=black><span style='color:black'>$10 general
admission [$5 students, seniors, and pre-school children (2 & under free)]<br>
<u>Description</u>: The family-friendly <b><i><span style='font-weight:
bold;font-style:italic'>"</span></i></b></span></font><b><i><span
style='font-weight:bold;font-style:italic'>Decapitalization Circus<font
color=black><span style='color:black'>" </span></font></span></i></b>demonstrates
in numerous death-defying stunts the fantastic effects of the capitalization of
life in the <st1:place w:st="on"><st1:country-region w:st="on">U.S.</st1:country-region></st1:place>
and citizens’ courageous efforts of decapitalization. The
performers represent the whole scale of the social spectrum from benign
billionairism to despicable homeless anti-social-elementarianism. All the
acts are FDA and FBI certified displays of patriotic
correctness and defy all imaginable forms of terrorism. The Possibilitarians,
a multi-instrumental variety ensemble, provide the appropriate-inappropriate
sounds for the Circus. <font color=black><span style='color:black'>Performed
by Peter Schumann and the Bread & Puppet Company, along with a large number
of local volunteer puppeteers and musicians. Take note that some of the
circus acts are politically puzzling to adults, but accompanying kids can
usually explain them. The audience is welcome to examine all the masks
and puppets after the performance. Cheap art will be for sale after each
performance.<br>
<br>
<u>Visual Art Exhibit</u>:<br>
<b><span style='font-weight:bold'>Bread and Puppet Theater</span></b>: </span></font><b><i><span
style='font-weight:bold;font-style:italic'>NOLANGUAGE</span></i></b><font
color=black><span style='color:black'>, visual art installation created<b><span
style='font-weight:bold'> </span></b>by<b><span style='font-weight:bold'> Peter
Schumann<br>
Jan. 24-Jan. 30, Mon.-Sun.<br>
</span></b>Free and open to all.<br>
<u>Description</u>: Bread and Puppet Theater Artistic Director <b><span
style='font-weight:bold'>Peter Schumann</span></b>’s most recent visual
art exploration, ranging from very large paintings to very small string
booklets, which depict matters that concern us all.<br>
<u>Exhibit details</u>:<br>
--<b><span style='font-weight:bold'>Mon., Jan. 24, 6-9 pm</span></b>: <b><span
style='font-weight:bold'>opening reception</span></b>, with refreshments, an
art talk given by Schumann, short skits performed by the touring company, and
live music performed by the<b><span style='font-weight:bold'> </span></b></span></font><b><span
style='font-weight:bold'>Boston Typewriter Orchestra</span></b> (<a
href="http://www.bostontypewriterorchestra.com/">www.bostontypewriterorchestra.com</a>)
<font color=black><span style='color:black'>and the<b><span style='font-weight:
bold'> Dirty Water Brass Band </span></b>(<a
href="http://www.dirtywaterbrassband.com/">www.dirtywaterbrassband.com</a>).<br>
--<b><span style='font-weight:bold'>Tues.-Fri., Jan. 25-28</span></b>: regular
Cyclorama hours: 9am-5pm [Thursday & Friday hours extended up to and after
the evening performance].<br>
--<b><span style='font-weight:bold'>Sat.-Sun., Jan. 29-30</span></b>: one hour
before and after each matinee and evening performance.<br>
<br>
For this residency at the Cyclorama, the Bread and Puppet touring company
includes Schumann, along with <b><span style='font-weight:bold'>Maura Gahan</span></b>,
<b><span style='font-weight:bold'>Greg Corbino</span></b>, <b><span
style='font-weight:bold'>Maryann Colella</span></b>, <b><span style='font-weight:
bold'>Susie Perkins</span></b>, among others. Both the evening and
matinee performances will be performed by the company and a large number of
local volunteers and musicians, including the popular Somerville-based <strong><b><font
face=Arial><span style='font-family:Arial'>Second Line Social Aid &
Pleasure Society Brass Band</span></font></b></strong><strong><b><font
face=Arial><span style='font-family:Arial;font-weight:normal'> (<a
href="http://www.slsaps.org/"><font color=black><span style='color:black'>www.slsaps.org</span></font></a>),
who is the host band for the yearly HONK! Festival (<a
href="http://www.honkfest.org/">www.honkfest.org</a>) held in <st1:Street
w:st="on"><st1:address w:st="on">Davis Square</st1:address></st1:Street>.</span></font></b></strong><br>
<br>
In addition to Peter Schumann’s </span></font><b><i><span
style='font-weight:bold;font-style:italic'>NOLANGUAGE</span></i></b><font
color=black><span style='color:black'> art installation, the Cyclorama will
also be decorated with the unique Bread and Puppet collection of powerful
black-line posters, banners, masks, curtains, programs and set-props. All
pieces are created by Schumann, including sculpting and painting all the major
masks and puppets, with input from the company. After each evening
performance there will be an opportunity to savor Schumann's famous sourdough
rye bread, smeared with garlic aioli; and there will also be many opportunities
during the week to purchase the theater's legendary "cheap art."<br>
<br>
Bread and Puppet Theater is an internationally recognized company that
champions a visually rich, street-theater brand of performance art that is
filled with music, dance and slapstick. Its performances are political
and spectacular, with huge puppets made of paper maché and cardboard, a brass
band for accompaniment, and anti-elitist dance. Most are morality plays
— about how people act toward each other — whose prototype is
"Everyman". There are puppets of all kinds and sizes, masks,
sculptural costumes, paintings, buildings and landscapes that seemingly breathe
with Schumann's distinctive visual style of dance, expressionism, dark humor
and low-culture simplicity.<br>
<br>
<u>A SHORT HISTORY OF BREAD AND PUPPET THEATER<br>
<br>
</u>The <b><span style='font-weight:bold'>Bread and Puppet Theater</span></b>
is one of the oldest, nonprofit, self-supporting theatrical companies in this country.
It was founded in 1963 by Peter Schumann on <st1:City w:st="on">New York City</st1:City>'s
<st1:place w:st="on">Lower East Side</st1:place>. Besides rod-puppet and
hand-puppet performances for children, the concerns of the first productions
were rents, rats, police and other problems of that neighborhood. More
complex theater pieces, in which sculpture, music, dance and language were
equal partners, followed. The puppets grew bigger and bigger.
Annual presentations for Christmas, Easter, Thanksgiving and Memorial Day often
included children and adults from the community as participants. Many
performances were done in the street.<br>
<br>
During the Vietnam War, Bread and Puppet staged block-long processions and
pageants involving hundreds of people. In 1970 Bread & Puppet moved
to <st1:State w:st="on">Vermont</st1:State> as theater-in-residence at <st1:place
w:st="on"><st1:PlaceName w:st="on">Goddard</st1:PlaceName> <st1:PlaceType
w:st="on">College</st1:PlaceType></st1:place>, combining puppetry with
gardening and bread baking in a serious way, learning to live in the
countryside and letting itself be influenced by the experience. In 1974
the Theater moved to a farm in Glover in the Northeast Kingdom of Vermont.
The 140-year-old hay barn was transformed into a museum for veteran
puppets. "Our Domestic Resurrection Circus," a two-day outdoor
festival of puppetry performances, was presented annually through 1998.<br>
<br>
Through invitations by Grace Paley, Bread and Puppet Theater became a frequent
attraction at anti-Vietnam War events in the '60s and '70s. By the '80s,
the puppets had become emblematic of activist pacifism and a sine qua non of
American political theater, as exemplified by the massive, ascending figures
that are burned into the memory of anyone who marched with or saw the haunting,
massive June 12, 1982 Disarmament Parade in New York City.<br>
<br>
Since its move to <st1:City w:st="on">Glover</st1:City>, <st1:State w:st="on">VT</st1:State>,
Theater for the <st1:City w:st="on">New City</st1:City> has been the company's <st1:place
w:st="on"><st1:State w:st="on">New York</st1:State></st1:place> home. It
has performed one or more productions at TNC each year since 1981. The
company also appeared at Lincoln Center Out of Doors in 2007. In <st1:City
w:st="on">Boston</st1:City>, Bread and Puppet Theater has had a consistent
presence since early on, most recently as an annual partner in the <st1:place
w:st="on"><st1:PlaceName w:st="on">Boston</st1:PlaceName> <st1:PlaceType w:st="on">Center</st1:PlaceType></st1:place>
for the Arts Cyclorama Residency Series.<br>
<br>
The company makes its income from touring new and old productions both on the
American continent and abroad and from sales of Bread & Puppet Press's
posters and publications. Internationally, Bread and Puppet Theater
performs massive spectacles with hundreds of participants, sometimes devoted to
social, political and environmental issues and sometimes simply to the trials
of everyday life. The traveling puppet performances range from tightly
composed theater pieces presented by members of the company, to extensive
outdoor pageants which require the participation of many volunteers. At
most performances, the company distributes bread and aioli (garlic sauce) to
the audience.<br>
<br>
Peter Schumann was born in 1934 in <st1:place w:st="on"><st1:State w:st="on">Silesia</st1:State></st1:place>.
He is married to Elka Leigh Scott and they live in <st1:State w:st="on">Vermont</st1:State>'s
<st1:place w:st="on"><st1:PlaceName w:st="on">Northeast</st1:PlaceName> <st1:PlaceType
w:st="on">Kingdom</st1:PlaceType></st1:place>. They have five children
and five grandchildren.<br>
<br>
You cannot understand Bread and Puppet's work without acknowledging that it is
grounded in dance, but not in formal or classical dance. Schumann's
artistic pedigree is a mixture of dance and visual art. There's dance at
the bottom of all of Schumann's work, but since puppet theater is traditionally
a "melting pot" of all the different arts, this is frequently
obscure.<br>
<br>
Schumann studied and practiced sculpture and dance in <st1:place w:st="on"><st1:country-region
w:st="on">Germany</st1:country-region></st1:place> and in 1959, with a
childhood friend, musician Dieter Starosky, Schumann, created the Gruppe für
Neuen Tanz (New Dance Group), which invented dances which sought to break out
of the strict limits of both classical ballet and the expressionist dance
tradition.<br>
<br>
He moved to the <st1:place w:st="on"><st1:country-region w:st="on">USA</st1:country-region></st1:place>
with his wife, Elka, and at that time, their two children in 1961. His
formative years in the <st1:place w:st="on">Lower East Side</st1:place> during
the early '60s were heavily influenced by the radical innovations spearheaded
by John Cage and Merce Cunningham. Schumann rejected the elitism of the
'60s arts scene and embraced the anti-establishment, egalitarian work of
American artist Richard (Dicky) Tyler. He embraced Outsider Art: everyday
movement, improvisation, direct momentary composition, and the jazz impulse
toward overall creativity. He became a regular at Judson Poet's Theater
and Phyllis Yampolsky's Hall of Issues, where puppet performances included
making music and marching around. Street Theater productions followed, at
rent strikes and voter registration rallies in the <st1:place w:st="on"><st1:PlaceName
w:st="on">East</st1:PlaceName> <st1:PlaceType w:st="on">Village</st1:PlaceType></st1:place>,
with crankies on garbage cans and speeches by a Puerto Rican neighborhood
organizer, Bert Aponte.<br>
<br>
He admired the abstraction of Merce Cunningham, and attended lectures at the
Cunningham studio, but ultimately rebelled against it. In an interview
with John Bell in 1994, he said, "Cunningham demanded of his dancers was a
classical ballet background. He refused to work with anybody who didn't
have that. I totally disagreed. I had traveled around in Europe
teaching dance; to <st1:place w:st="on"><st1:country-region w:st="on">Sweden</st1:country-region></st1:place>,
to a dance academy and various places, pretending I was a great ass in dance,
and gave them classes. And they took me -- I was fresh and I just did
it. I said, 'I'll performance you what dance really is; what you do is
just schlock,' and I tried to liberate them from aesthetics connected to modern
dance and classical ballet and to these various modes of existing dance at the
time.'"<br>
<br>
The most recent creative history of Bread and Puppet Theater was written by
Holland Cotter in the New York Times in 2007. Cotter described Peter
Schumann's epics as "spectacle for the heart and soul." He
commended Schumann for the courage "to live an ideal of art as collective
enterprise, a free or low-cost alternative voice outside the profit
system." He testified that one summer, on a mountainside in <st1:place
w:st="on"><st1:City w:st="on">Glover</st1:City>, <st1:State w:st="on">VT</st1:State></st1:place>,
Bread and Puppet gave him the single most beautiful sight he's ever seen in a
theater. And when Bread and Puppet led the nuclear freeze parade in <st1:place
w:st="on"><st1:City w:st="on">New York City</st1:City></st1:place> during
United Nations sessions on disarmament, it was "one of the most
spectacular pieces of public theater the city has ever seen." He
added, "For me the real affirmation of the disarmament pageant lay less in
the fact that Mr. Schumann came to New York and created this hugely ambitious
collective work of art, than in the fact that immediately afterward he returned
to Vermont, to a farm, to a barn, to the outdoor baking oven, to his workshops
and to his own work, which has come to include an increasing amount of
painting, most of which stays out of the art world’s sight."<br>
<br>
For more information on the Bread and Puppet Theater, log onto <a
href="http://www.breadandpuppet.org/"><font color=black><span style='color:
black'>www.breadandpuppet.org</span></font></a>.<br>
<br>
<b><u><span style='font-weight:bold'>ABOUT THE <st1:place w:st="on"><st1:PlaceName
w:st="on">BOSTON</st1:PlaceName> <st1:PlaceType w:st="on">CENTER</st1:PlaceType></st1:place>
FOR THE ARTS:<br>
<br>
</span></u></b>The <b><span style='font-weight:bold'>Boston Center for the Arts</span></b>
is a not-for-profit performing and visual arts complex that supports working
artists to create, perform and exhibit new works, builds new audiences, and
connects art to community. Visit <a href="http://www.bcaonline.org/"><font
color=black><span style='color:black'>www.bcaonline.org</span></font></a> for
more information.<br>
<br>
</span></font></span></font><o:p></o:p></p>
<p class=MsoNormal><font size=2 color=black face=Arial><span style='font-size:
11.0pt;font-family:Arial;color:black'><br>
--submitted by marycurtinproductions [on behalf of Bread and Puppet Theater]<br>
c/o Mary Curtin<br>
PO Box 290703, Charlestown, MA 02129<br>
617-241-9664, 617-470-5867 (cell), <a href="mailto:marycurtin@comcast.net"><font
color=black><span style='color:black'>marycurtin@comcast.net</span></font></a><br>
"dedicated to staging insightful entertainment, particularly in
non-traditional venues"<br>
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