Since 2008, Maya leads psychosocial interventions with Zoukak in marginalized contexts in different Lebanese regions. She facilitates collaborations, artistic residencies and events with international artists in the company’s studio where she co-curates since 2013 Zoukak Sidewalks, an international performance platform. She has given talks and workshops and taught at universities and in non-academic contexts, in the Middle East, Europe, the United States and Africa. Zbib is a Chevening/KRSF Alumni (2007), a Cultural Leadership International Alumni (2010), a fellowship recipient of ISPA, New York (2010), was selected as the protégé of Peter Sellars, American theatre, opera and festival director, as part of the Rolex Mentor and Protégé Arts Initiative (2011), and she’s a finalist nominee in the Gilder/Coigner International Theatre Award, New York (2014).
Outside of Big Dance, Ms. Parson has created choreography for operas, pop stars, television, movies, theater, ballet and symphonies. Her awards include the Doris Duke Performing Artist Award (2014), an Olivier Award nomination in choreography (2015), Foundation for Contemporary Arts Grants to Artists Award (2014), USA Artists Grant in theater (2012), Guggenheim Fellowship in Choreography (2007), two BESSIE awards (2010, 2002), and three NYFA Choreography Fellowships (2013, 2006 and 2000). BDT received an OBIE (2000) and the first Jacob’s Pillow Dance Award (2007). Parson has been nominated for the CalArts/Alpert Award seven times and has received three Lucille Lortel nominations (2014, 2012, 2011). She was a YCC choreographer at The American Dance Festival.
Since 1993 Parson has been an instructor of choreography at New York University’s Experimental Theater Wing. She was featured in BOMB magazine, and has written articles for Ballet Review, Movement Research Journal, and drawing for The Brooklyn Rail, as well as a piece for Dance USA on the state of dance/theater in the U.S. and given a talk on the use of Poetic Forms in adapting text at the Poetry Center. As an artist curator, she has curated shows including: Merce Cunningham’s memorial We Give Ourselves Away at Every Moment, Dancer Crush at NYLA and Sourcing Stravinsky at DTW. Parson tours a lecture on abstraction called The Virtuosity of Structure to universities and for audience development. Her recent book, Dance by Letter, is published by 53rd State Press.
His awards include the highest Romanian national order – the „Romanian Star”-, as well as the „Life Achievement Award”, the Eliott Norton Award in Boston, the George Abbott Award in New York, the Robert Brustein Award (2009), New England Theatre Conference MAJOR AWARD FOR OUTSTANDING ACHIEVEMENT IN THE AMERICAN THEATRE (2010). He has taught at schools worldwide, including the Yale School of Drama, Harvard University, Le Conservatoire de Paris, University of California (San Diego), and the Pittsburgh Carneggie Melon.
Professor & Director, Oscar Hammerstein II Center for Theatre Studies, COLUMBIA UNIVERSITY in New York from 1992 to 2018. A book about his involvement in the American Theatre, The Magic World Behind the Curtain, by Ed Menta, was published. In Romania, Polirom Publishing House published his autobiography, "O Biografie" in 2006, which was translated in Hungarian in 2010, and in 2012 its Romanian language 4th edition was printed, by popular demand. A photographic retrospective of Serban’s theatre and opera career, „My Journeys”, was published in 2008. A photography book by Mihaela Marin with texts by Andrei Serban, in Romanian and English, was published by Romanian Cultural Institute in 2012: "CHEKHOV, SHAKESPEARE, BERGMAN SEEN BY ANDREI SERBAN”; “OPERA DIRECTING - THOUGHTS AND IMAGE” - a photography album of his most recent opera productions (photo by Mihaela Marin, text by Andrei Serban), NEMIRA PUBLISHING HOUSE, Bucharest, Romania. Recipient of several Doctor Honoris Causa titles.
The idea of this workshop is to discover that telling it not only a question of words. Human been, costumes, set, lighting, video, sound and walls to have their part to play. We have to take away those things that create distance; in simplicity anything it’s an importance, than we can see with more intensity things that otherwise cannot be seen. In workshop I suggest the surrounding in which the plays of each group will take place will be at the same time the set and the auditorium, following the Elizabethan idea to have only one space with the play right in middle of the social life, receiving all contradictory energies.
Jean-Guy Lecat’s workshops don’t have a real pedagogical message, but he wants to open the ears and eyes of the participants. He wants to show and teach them things, not tell how they are supposed to be.
To work together, to hear each other, to help the others in a group to stepping over certain thresholds, don’t remain motionless so that you escape, or not to use techniques that could be used to mask this fact that we have nothing to say is another aspect of this workshop.
In 1965, after having been a fitter model maker, then draughtsman, in Thomson-Houston’s factories, J.G. Lecat completed 6 months of training at the Television Studios Les Buttes Chaumont. In 1966, he left the factory and became stage manager in Festival du Marais and in Théâtre du Vieux Colombier. He met Claude Perset, set designer and theatre-architect and became his assistant; they drew several set, theatres and festival’s spaces, amongst them the famous Théâtre d’Orsay (Théâtre du Rond Point today).
From this date he practiced at same time, every technical and artistic job in theatre including being an actor. He took part in more than 100 productions for many directors as : J. L. Barrault, R. Blin, J. M. Serreau (Opening Cartoucherie de Vincennes), Living Theatre, La MaMa ETC...He also works with several other architects, from the beginning of his theatre carrier as he always keeps at same time a foot on architecture and the other one on theatre stage.
From 1976 to 2000 technical director and set/space designer for Peter Brook Jean-Guy Lecat was charged by particularly with research, the transformation or creation of more than 200 spaces throughout the world. Some of them are still kept as:Harvey-Majestic Theatre and La MaMa in New York, The tramway in Glasgow, The Gaswaerk in Copenhagen, The Mercat de les Flore in Barcelona, Boulbon quarry in Avignon, Nationnal Theatre in Strasburg, Bockenhaimer depot in Frankfurt etc…
A book that tells his work with P. Brook around the world is published:“The Open Circle” A. Todd J.G. Lecat Faber and Faber London, Palgrave Macmillan Ltd. New York. “El Circulo Abierto”Alba editorial, s.l.u. Barcelona. He left Peter Brook Company in 2000. From that time he has served as Theatre-Consulant on dozens of projects involving transformation and building of theatre spaces in addition to work as a Set, Lighting and Costume Designer and Director around the world.