Survey: Ontological Hysterical Theater

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
creating and producing performances
1c. Organization's annual budget.: 
$250,001 - $500,000
1b. Primary activity[ies] of the organization.: 
Part 2.
2a. Mission Statement: 
Since 1968, producing the plays of Richard Foreman. We try to create an aesthetically radical and idiosyncratic theater-- adhering to aesthetic standiards relating the work to the most advanced art in fields other than theater. The aim has been to make a theater (at least one production a year) that gives formal shape to the comlexity of one man’s unique vision, as Mr. Foreman writes, directs and designs (sets, sound, lights) all productions. At the same time, the work tried to operate in such a way that it becomes isomporphic with the workings of human consciousnessness as such-- as it collides with the world on a multitude of levels. It is a philosophical, spiritual, psycological, theater that does not "speak about" these issues, but instead--embodies them-- rhythmically and compositionally on a complex mulit-layered 3 dimentional stage, saturated witrh sound , light and movement that tries to reflect the impulsive life of the deep self encountering a world before that world is "catagorized" by current systems of conventional belief.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
List of plays produce by OHT since 1968 (all by Richard Foreman) 2005—The Gods Are Pounding My Head. (Ontological NY) 2004 --King Cowboy Rufus Rules the Universe (Ontological NY 2003-- Panic (Ontological NY & Vienna Festival 2002—Maria del Bosco (Ontological NY) 2001—Now That Communism Is Dead My Life feels Empty (Ontological NY & Vienna Festival) 2000—Bad Behavior (California Institute of the Arts) 1999—Bad Boy Nietzsche (Ontological NY) 1998- Paradise Hotel (Ontological NY) 1997-- Benita Canova (Ontological NYC) 1997-- Pearls for Pigs (Hartford Stage Co and Internationsl Productions Associates.) 1996-- Perminant Brain Damage (Ontological NYC) 1996-- The Universe (Ontological NYC) 1995-- I’ve Got the Shakes (Ontological NYC 1994-- My Head Was A sledgehammer (Ontological NYC) l993 -- Samuel’s Major Problems (Ontological NYC) l992 -- The Mind King. (Ontological NYC ) 1991--Eddie Goes to Poetry City (Part 2: La Mama & Ontological Hysteric NY) l990--Eddie Goes to Poetry City (Part one: New City Theater Seattle): Love and Science (libretto: Music Theater Group NY); Total Rain (Television play, The Kitchen, WGBH Boston and WNET, NY) l989--Lava: (Wooster Group & Ontological-Hysteric NY) l988 --What Did He See (NY Shakespeare Festival & Ontological NY): Symphony of Rats( Wooster Group & Ontological NY): l987-- Love and Science( play version, Theater Aurora Stockholm Sweden): Film is Evil, Radio is Good (Ontological NY): l986--The Cure(Onlological NY): Africanus Instructus (libretto, Music Theater Group NY) l985--Miss Universal Happiness(The Wooster Group and Ontological NY) l984--Dr. Selavy’s Magic Theater (libretto, Music Theater GroupNY) l983-- George Bataille’s Bathrobe (Festival d’Automne Paris): Egyptology (NY Shakespeare Festival): American Imagination (Libretto, Music Theater Group NY) 1981--Cafe Amerique (Festival d"Automne Paris): Penguin Touquet (NY Shakespeare Festival) l980--Madame Adare (Libretto, NY City Opera): Place + Target (Theatre de Roma, Rome,Italy) l979--Strong Medicine (feature film, August Films & Ontological NY) l977-- Blvd de Paris (Ontological NY): City Archives (Video play, Walker Arts Center, Minn.): Book of Splendors, Part Two (Ontological NY) l976-- Book of Splendors, Part One (Festival d’Automne Paris) l975-- Rhoda in Potatoland (Ontological NY): Pandering to the Masses (Ontological NY): Hotel for Criminals (Libretto, Music Theater Group NY) l974-- Pain(T) : (Ontological NY) Vertical Mobility ( Ontological NY): Sophia=Wisdom (Theater for the New City, NY) l973-- Classical Therapy (Festival d’Automne Paris): Partical Theory (Theater for the New City & Ontological NY) l972--Sophia:The Cliffs (Ontological NY): Evidence (Ontological NY) Hotel China (Ontological NY) l971--Dream Tantras for Western Massachuttes (Libretto, Music Theater Group): Total Recall (Ontological NY) l970--Elephant Steps (Librette, Berkshire Music Festival at Tanglewood) l968--Angelface (Ontological NY)
2c. Exhibition / Programming / Publishing History.: 
BOOKS: (Wriiten by Richard Foreman) Richard Foreman Plays and Manifestos, NY University Press l976: Reverberation Machines, Later plays and Essays, Station Hill Press l985: Love and Science, Selected Librettos by Richard Foreman, TCG Publishers, 1991: Unbalancing Acts, Essays and plays by Richard Foreman, Pantheon Press, l992 TCG 1996 My Head Was a Sledgehammer and other plays: Overlook Press, 1995 No-Body (A Novel) Overlook Press 1996 Paradise Hotel and Other Plays. Overlook 2002 Bad Boy Nietzsche and Other Plays. TCG 2005 BOOKS ABOUT Richard Foreman: (a selection) Richard Foreman and the Ontological Hysteric Theater by Kate Davy, UMI Research Press 1981: The Directors Voice: (Chapter on Foreman)TCG Publ l988 In Their Own words: (Chapter on Foreman)TCG: l988 Directors in Rehersal: (Chapter on Foreman) by Susan Cole: ` Routledge l992 `The Other American Drama: (Chapter on Foreman) by Marc Robinson: Cambridge University Press 1994 Theater at the Margins: (Chapter on Foreman) by Erik MacDonald: University of Michigan Press 1993 Postmodernism and Performance (Chapter on Foreman) by Nick Kaye: Macmillian 1994 Die Buhne als sezene (Book on Foreman) by Markus Wessendorf, Alexander Verlag, Berlin 1998 The Theater of Richard foreman; by Gerald Rabkin. PAJ Books, Johns Hopkins Press. 1999 ABCDery of Richard Foreman: by Anne Berevolitch. Editions du Sud. Paris 1999 Beyond the Boundaries by Ted Shank. (2 Chapters on Foreman) Michigan U Press
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
richard foreman
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
mimi johnson
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Non-Profit [IRS certified]
5b. Type of organization currently, or at the termination of activities.: 
Non-Profit [IRS certified]
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
End of lease for your space resulting in termination of activities or changing of priorities
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
Fales Collection, Bobst Library New York University
8b. Archival materials are also located at:: 
Where are these locations?: 
Performing Artservices NYC Artservices International, Paris Video material (individuals)
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
Contact Fales Collection, Bobst Library, New York University
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Broadsides / Small Press
Commercially Published Materials
Programs of Events
Other Printed Publications
11e. Other: 
Architectural Drawings / Floor Plan
Layouts / Sketches / Instructions for Installations
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
Props for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Not Applicable
Other - Please describe below.
Please describe: 
Library files them
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
71 - 80
14b. Estimated Number of Archive Drawers: 
14c. Estimated Number of Archive Notebooks: 
91 - 100
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
71 - 80
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
I don’t know, but clearly done by library
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
16g. Who is responsible for working with the archival material?: 
Full-Time Archivist
Other - Please describe below.
Please describe: 
Library staff
Part 17.
17. How are new materials processed?: 
Other - Please describe below.
New material will be offered to library every few years
Part 18.
don’t know-- NYU library style
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
Dedicated climate control system
Part 20.
20a. What are the goals for the historical materials for the next year?: 
contin ue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
Starting new project, visiting universities around the world and filming material for use in performance-- with that filmed material available to all participants to use making their own art. Must creat means of having this available, etc. Plus documentating all this.
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$20,001 - $25,000
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
25b. Who?: 
Bobst Library NUY
Who executed this survey.: 
Richard Foreman/ Ontological-Hysteric Theater
I wish to defer payment and allow AS-AP to use these funds to further AS-AP’s efforts to preserve the history of the alternative and avant-garde movement in America.
Is this survey complete and all appropriate questions answered?: