Clika one biography of william shakespeare

At the age of twenty, as the impecunious James Joyce prepared to leave Dublin in order “to forge the conscience of his race,” he wrote blisteringly to Lady Gregory, the doyenne of Irish literary society, “I have found no man yet with a faith like mine.” That faith has since been vindicated, but his insistence that he did not want to be a “literary Jesus Christ” was sorely tried. Joyce’s journey as a writer was one of martyrdom: the odium meted out to each of his works was strenuous, but it was “Ulysses” that met with the most vituperative attacks. It was seen as technically monstrous, antihumanist, unclean, and excrementous. The doings, the sayings, the veniality, the music, the cadences of his Dubliners are all there, as is the city itself, but his real crime in that strife of tongues was to break the sexual taboos of holy Ireland, Victorian England, and puritanical America.

What would Joyce, the prevaricator, make of the revels that are held each year on June 16th, in commemoration of his miscreant hero Leopold Bloom? On Bloomsday in Dublin, men and women in Edwardian dress recite snatches of “Ulysses.” Bloom’s favorite foods—kidneys and other innards of beasts—are served at several rival breakfasts with, of course, Guinness, the national drink. More than other Irish literary icons, Joyce continues to command such revels because his work—particularly “Ulysses”—is a minefield of new riches, new explosives, each time we return to it. The Joyce I loved and learned from formerly has metamorphosed into an even more radical, more elusive, more labyrinthine writer than when I first read him or later read Richard Ellmann’s great biography of him. If the seven stages of man, as defined by Shakespeare’s melancholy Jaques, pertain, then Joyce is the author to conduct each one of us through our successive reading lives.

Joyce left

Sean San José(Playwright, Director) is a Director, Writer, Performer and Co-Founder of Campo Santo. Since Campo Santo’s founding in 1996, San José’s body of work spans 50 premiere theatre productions for the group including the first plays by Sharif Abu-Hamdeh, Jimmy Baca, Jorge Cortinas, Junot Diaz, Dave Eggers, Chinaka Hodge, Denis Johnson, Greg Sarris, Luis Saguar, and Vendela Vida. Campo Santo and San José, with Intersection developed multiple works by Philip Kan Gotanda, Jessica Hagedorn, Naomi Iizuka, Octavio Solis, John Steppling, Erin Cressida Wilson, and many others. For Campo Santo, he heads Clika- a new writing and performance Lab; and is developing new works with Luis Alfaro, Richard Montoya, Star Finch, Erin Cressida Wilson, Felonious. For 15 years San José was the Program Director of Performance at Intersection for the Arts and is the new Artistic Director of Youth Speaks’ New Performance Program. Upcoming work includes multiple projects with the Magic Theatre and Loretta Greco and a new piece as part of American Conservatory Theatre's Monstress in 2015 at the new Strand Theatre.

Juan Amador (Bayuncoso) A modern day renaissance man, Juan’s artistic resume includes emcee freestyle champion, DJ, radio host, and actor. Since joining SF’s Campo Santo, Juan has appeared in the world premieres of Block by Block, Tree City Legends, Holy Crime, has appeared with the Shotgun Players at the Ashby Stage for Daylighting and in Pittsburg, California’s Teatro L.O.C.O.S . Other credits include sound design for Chinaka Hodge’s critically acclaimed Chasing Mehserle.

Delina Patrice Brooks (Aparecida) earned a 2009 Isadora Duncan “Izzie” Award nomination for “Beauty, The Beast: A Dance-Theater Production. International performance & dance studies: Western Europe, Southern Philippines and Guinea, West Africa. Grants & Scholarships: YBCAway, Anna Deavere Smith’s Global Narratives Workshop, Zellerbach Family Foundation, City of