The TPA presents:
Memory's First Kiss
with Wendy Suzuki
directed by Laine Rettmer
Memory’s First Kiss untangles the deeply personal decisions and moments behind Wendy Suzuki’s astonishing research on memory. The performance offers a window into the messy, raw and all too human side of the hard sciences.
The Talks Progress Administration is a mad science experiment on stage – we’re pairing academic lecturers with theater directors to see what they’ll make together. The TPA is combining intellectual entertainment, creative discourse, and interactive storytelling like you’ve never seen before.
What would happen if Bill Nye got cast in Sleep No More, if Jane Goodall sat down for tea with Brecht, or if Steven Hawking wrote a new Hamilton-inspired rock opera? We don’t know, but we sure as hell can’t wait to find out.
The TPA is a collaboration between The Story Collider and Caveat, and is supported by Science Sandbox, a Simons Foundation initiative dedicated to engaging everyone with the process of science.
Wendy Suzuki is a Professor of Neural Science and Psychology at New York University, author and speaker. She got her undergraduate degree in Physiology/anatomy at the University of California at Berkeley, her Ph.D. in neuroscience at the University of California at San Diego and completed a post-doctoral fellowship at the National Institutes of Health before she started her faculty position at New York University. Her lab studies the brain areas important for memory and the positive effects of physical activity on brain function.
Laine Rettmer is a director and visual artist. Her art work has been shown at the Museum of Fine Art (2017), the Boston Independent Film Festival (2017), FPAC (2017), Manifesta (2016), Yuan Art Museum (2016), Yve Yang Gallery (2016), Perkins and Ping (2016), Present Company (2015), NADA NY, NADA Presents, (2014). She has been the resident stage director for the New York based company LoftOpera, for the past four years with whom her Macbeth last December received a Freddy Award for best new production, and her Barber of Seville was named one of the top 10 classical music productions of 2014 by the New York Times.
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