 Hi, thanks so thanks to all of you very much for joining us tonight. My name is Steven Cedars and I'm here to greet you on behalf of the Edwin Booth Award Committee, the CUNY Graduate Center Department of Theatre and Performance and the Doctoral Theatre Students Association. We're very excited to have you here so that we can talk to you a little bit about some of the ways that we've made an effort to pay tribute to Mimi Lien who, as you've probably guessed, is this year's recipient of the Edwin Booth Award. Hi, I'm Jess Applebaum and we're very excited and grateful to HowlRound for the opportunity to be live with you. At the very top, we want to thank Thea Rogers from HowlRound and Frank Henscher from the Siegel Center for their support. At the core of CUNY Graduate Center is a value, knowledge for the public good. And so presenting the Booth Award here on a free and open platform is really meaningful to us. Tonight we get to share a glimpse of the work that we've done to celebrate the career and impact of Mimi Lien and in the world of theater and beyond. We're looking forward to telling you all about the website which the URL of which we'll share many times through our conversation and to give you a little bit more insight into why we think that Mimi is so singular not only as a designer but as a theater maker more generally. But first of all we know you're not really here to see as you want to see Mimi get the award. So what we're going to do now is we're going to air a video that we shot a couple of days ago in which we gave her the award over as you can probably imagine Zoom. So please enjoy this short clip. Hello and welcome to the 2020 Edwin Booth Award. I have had the great honor of chairing this committee, which includes Jess Applebaum, Stephen Cedars, Sarah Lucy, Gracious Shin, Christine Renee Snyder and Allison Walls. And I am Nick Banasarov. This year we were thrilled to honor set an environment designer Mimi Lien who joins us here today. Hi Mimi. Hi. Now over two months into the COVID-19 pandemic. And this year's live ceremony has been replaced by a website that celebrates four of Mimi's landmark projects, complete with a brief video tributes from her collaborators and adoring scholars, as well as documentation of her creative process. This video is the capstone of the website where we present the award to Mimi in the form of an unboxing video. Today we are all situated in front of aluminum foil walls created in honor of Mimi's design for the Brooklyn performance-based Jack, which she co-founded, and which featured foil walls like this in its first iteration. We have also commissioned a special design for this year's trophy, which has been mailed to Mimi but which has not yet been seen. Is that right? That is correct. Okay, here we go. Nice. So, for the first time in 37 years, the Doctoral Theater Students Association, DTSA at CUNY Graduate Center, confers the prestigious Edwin Booth Award to a designer. Our choice honors the exceptional contributions Mimi Lien has made in the worlds of theater, dance, opera, and beyond. Her work as set designer pushes the boundaries of the proscenium stage and invites artists and collaborators to engage with space in new dynamic ways. As collaborator or lead artist on projects, she presents opportunities for new narratives to arise. She inspires scholars such as us to write about the dramaturgy of space, of objects, methodologies of collaboration, analysis of theatrical architecture, and generative devised processes. Mimi moves deftly between and beyond genres. Her work, which is seen in theater, dance, and new opera demonstrates a keen and curious mind that honors the visual and textual worlds of performance. Her designs continue to push the boundaries of independent theaters and shatter the architectural rules of Broadway. Never taking the audience for granted, her designs extend beyond the stage. Welcoming, challenging, incorporating audiences into the spatial experience of performance. This award is an opportunity for us to articulate the multi-dimensional work of scenic designers and contribute scholarships to this vastly other theorized field. In the spirit of the Virginia divide between artists and academics, we have invited people from both disciplines who contribute to this knowledge-making and equal footing. The four projects we have chosen to highlight include Cypiter and Ian, Mimi's groundbreaking work at visual theater in collaboration with Pogion, the Brooklyn performance venue, Jack, the remarkable melodrama on Octurune, and the transformative Natasha Pierre and the Great Comet of 1812. Together, these projects show a remarkable range, and in each one, Mimi's work is inseparable from the success of the project itself. At a time when some people question whether there is such a thing as an avant-garde anymore, Mimi's unique voice is a forceful argument that the theater world is evolving the conversation and was previously unseen. From the beginning of the process, Mimi has worked tirelessly with us to define the dramaturgy of this award, asking questions about our intended audience, about their expectations for the site, and of course about how the site should feel and look for its visitors. Overall, her eye was always on crapping a singular experience, one that be not only powerful, but also a novel intervention into the genre of award ceremonies overall. We worked closely as well with our web designer, Justin Johnson, who has done an incredible job in translating Mimi's concept of a memory palace into an interactive and inviting experience. So, Mimi, we now invite you to unbox the award. This award is specially designed by Jason Ardizon West, who, for those who don't know, was Mimi's associate scenic designer for the Great Comet, and a recent Emmy Award winner for production design of Jesus Christ Superstar Live on NBC. Jason was an enthusiastic partner in creating this special sculpture to honor someone who he describes as a mentor. We spoke about the ways that Mimi is able to reorient the audience to the stage and their surroundings and invite people to experience the space differently. So this is Jason's spectacular sculptural embodiment of that. The geometric design was inspired partially by the letters EBA for Edwin Booth Award. So when you look at it from various angles, the award resembles EB or A. So Mimi, will you display the trophy so the people at home can see? Wow, it's totally amazing. The light may not really reveal, well, actually, or it may do more to reveal who knows. It's, wow, this is so stunning. I'm so shocked and moved and grateful. Wow. It's beautiful. It's really beautiful. Here. Oh, there's like an engraved front part. Yeah. There we go. Oh, perfect. This is now when I get to say something, right? This is like the part of the thing. Okay. First of all, a huge heartfelt thank you to this, the CUNY Doctoral Theatre Association, for bestowing this very special award on me and for doing so to a theater designer for the very first time. This means so much to me as a, not only as a person, but also to me as a part of a community of designers, theater artists who are often less visible and therefore less frequently recognized. So thank you again to the committee for this award. When I first received the email from Nick telling me that the group had chosen me to be the recipient of the Booth Award this year, and when I took a look at the list of previous winners, I nearly like fell over backwards at the number of other recipients who have been total inspirations to me and heroes of mine. But I'm reeling in shock and gratitude to be sharing the company of folks like Ellen Stewart, Richard Forman, Karen Finley, Irene Forna as Reverend Billy and Young Jean Lee. What a crazy thing. And what a crazy and strange set of circumstances we are under right now. I'm so grateful that this group was gained to put together an alternate format to the award ceremony, which is what you're experiencing right now. As a designer, I sort of like bumping up against things that seem like limitations and coming up with other formats of doing things. So I saw this as an opportunity, actually, a way to mark this particular moment in time and a way to take a first stab at figuring out what you might need to do things in the upcoming months and years. I, for one, was interested in liberating the audience to experience time and space on this site in a non-dictated way. And hopefully some of the materials and images shared will provide a little insight on design processes and the way designers work and collaborate on these performance pieces. So thank you in advance for trowing our hallways and peeking in on some of the little kernels that we've embedded there. Thank you Mimi. It has been a true honor to work so closely with you in reimagining the dramaturgy aesthetics and meaning of how we as theater makers and as academics honor the work of designers. Thank you to all of the people who have made this work possible, including all of the students from the theater and performance program at the CUNY Graduate Center, the faculty chairs who gave financial support to the Booth Award, Gene Graham-Jones, Marvin Carlson, and David Savrin, Frank Henchker and everyone at the Martin E. Siegel Center, the Doctoral Theater Students Association, the Doctoral and Graduate Students Councils, as well as professors Peter Eckersall and Erica Lynn, and our academic program coordinator and assistant program officer, Patricia Goodson. We are profoundly indebted to everyone in your artistic community, Mimi, who have offered an overwhelming amount of support during this process. Thank you all. This committee has founded both meaningful and delightful to join academic scholarship together with artistic knowledge in service to Mimi's astonishing and ongoing career. We hope this site will serve as an enduring resource to academics and artists alike for years to come. Thank you all. We hope you, we hope and trust that you found that as lovely and adorable to watch as we had, as we thought it was to make. And best of all, if you'd like to see it with fewer of the streaming issues, you can find it at the website. For the first time, the URL of that website is MimiLien.EdwinBoothAward.com. Again, that's MimiLien.EdwinBoothAward.com. You'll hear it again. Speaking of which, we'd love now to talk a little bit with the Booth committee about the website. Some of what you heard in that video is that we are trying, we've been trying to sort of expand the idea of how we could give this award in the midst of some unprecedented circumstances. And we'd love to share with you some of our thoughts on how we tried to honor Mimi in a very unique way. And just first briefly, we wanted to give a little context to the Booth award. So Christine and Allison, if you want to jump in and share with us some of that. And maybe even before we do that, if everybody just wants to say hi and introduce themselves too, we are all people, part of the theater and department of CUNY grad center and many of us are academics and practitioners as well and it would be great for you to all just say hi for a second. Hi, I'm Christine Snyder. It's a pleasure to chat with you. I am Nick Banasaroff. I'm Sarah Lucy. I'm Grisha Shen. And I'm, I'm Allison Wolves. So if we're going to talk a little bit about the history of this award, the first Booth award was given out in 1983 by the theater department students of the CUNY Graduate Center. And it was given to the Royal Shakespeare Company, which I think is really fascinating as the purpose of this award is specifically to honor either individuals or organizations that have a specific impact on New York theater. Recent recipients have included Taylor Mack, Young Jean Lee. Last year we gave it to Ishmael Houston Jones, and this year to Mimi Leigh Ann. I think one of the things that is remarkable and really important about the Booth award is that it is entirely determined by the students of the theater and performance studies department. I feel rather proud actually when you look at those past recipients that they are such exciting practitioners and often that award has really kind of anticipated other people catching on to just how amazing they are. And I think it really speaks to as well how deeply the theater students at the Graduate Center love theater and how engaged we are with the New York theater scene. And it's a really nice way to maintain this connection to break down any perceived walls between the artists and practitioners and the scholars who are, as Jess said, also often practitioners at the Graduate Center. It's really nice because that is the purpose right to bring the academic and the professional communities together and to sort of keep that conversation happening between them right. And another thing I wanted to note is just every year the Booth award is a little different. It often reflects the eclectic nature of whoever the honoree is. So I know Allison for example worked on the Booth committee when Reverend Billy and the Church of Stop Shopping won the award, which was very different than the next year when Taylor Mack won. And as you can imagine, sometimes these are panel discussions, sometimes they're very performance heavy, but this is a first for us. This is something new. And we're really glad that you all can be here on this journey with us as we explore both our collaboration with HowlRound and also our website. That's great. I mean, I think something really profound that that makes me think about, in which Mimi shared in the unboxing video is about how this was a challenge, like to be able to share this was a challenge. And in some ways to what you're saying, Christine, I like the idea that, well, I don't like anything about the circumstances going on in the world, but given that those exist, I kind of like the idea that our unprecedented giving this award to a designer has interacted in that and we had the sort of imagination that that as Mimi said, saw this as a challenge to be overcome. With that in mind, Nick, I would love for you. So Nick is a both a designer and a scholar and, and I would love for you to talk a little bit maybe about just just about what's, what's new about this and why is this a big deal that we're giving this to a designer how is this significant both to academia and in artistic practice. Yeah. You know, it's, it's interesting to me in the context of theater history where the roles that people have taken within theater making have been defined and changed over the years and they've kind of split apart like a web. You know, we had these, at certain point we know we had these director writers right. And, you know, by the time we get to Shakespeare we have no directors, but we lead actor is in charge of directing kind of, and as we move forward, you know, the directors had to be in charge and he sets the lighting the sound any sort of special effects was often on their shoulders until they had the good wisdom to split those roles off because there's a tremendous amount that can be accomplished when there is a more rigor and attention played to these. So, you know, really wasn't until recently that designers have been considered as equal sort of there this secondary split off thing but you know over time we've also seen the rise of the actor as generator as creator. And I think we're in a moment of seeing the rise of the design world trying to take an equal place there. And I think Mark's work is remarkable in that sense I mean she obviously does a tremendous amount of traditional process work but the piece superterranean that she created last year with pig iron. And she was a lead artist. I think Mark's a really important moment in at least the device theater community in this country, because, you know, it is, it's available online right now for from now until Sunday so not right now for people watching in the future but you can see it. It's remarkable and like it has a grandeur of like Romeo Castellucci and some of the hot European directors but it does so in a totally different history a different lineage device theater lineage, where in this case the designer is is really located in the room in deep collaboration with someone is not creating a script beforehand but playing and learning and Mimi's, I think, one of her great skills is the ability to generate moods and and and affects. And I think that Sarah Benson's video the director of an octa ruin one of the future projects speaks about that really well. I think, hopefully this is going to break open some more doors for young people who did not realize that as a designer you can be the center of a piece. You can create the world and and that the theater process is flexible enough to work around that and to create remarkable things. What you are saying makes especially thinking about breaking the form in the space open to process so that you can actually in be invited into knowing about the work and that Mimi does makes me think about Sarah and the work that she does as a scholar. And Sarah recently just defended and her and is now full page PhD and her dissertation. I don't want to get the title wrong so I'm going to read this for a second is acting objects staging new materialism post humanism and the echo critical crisis in contemporary performance. And so I'm excited for you to share what interests you about Mimi's work. And also, the translation that we started to do from, we were having a live event where we wanted to have part of that be the process that have Mimi's work shown in a three dimensional form and we started to then have to shift to a two dimensional form of a website. That as well. Yes, I love to. And thank you so much for the little shout out for my dissertation it's a long title so you got it perfectly right. But yeah, I think that Mimi's work is really really exciting to me and it actually coincides perfectly with some of the theories and artists that I was talking about my dissertation. What I find notable is that you can really see Mimi's background in architecture, and how that's revealed in her design work. And specifically I think because she has such an attention to the ways in which space can move and affect the audience. And by move I mean like literally physically move the bodies of the audience like their materiality. And by affect I mean like that, that affect theory style of affect where it's like this kind of injection of sensory material that gives you an kind of immediate, not quite emotional response like not emotional because you can't name it yet but it's something that's really strong. And so that's, it's interesting to me because Mimi's work it shows that there's this really kind of precise and detailed attenuation to the materials that she's working with I think that she often is really starting with the material. And so there's the shape and the texture and the mass of these different structures that she's engaging with. But also, she's always thinking about how those are relating to the audience like how they're interacting with human bodies and how they're producing sensations. And so I think that of course like great designers are trained to think that way I think that we can see that elsewhere, but there's a few things that bring Mimi's work to me to like the next level. And that she is able to play with the relationships that she's creating between the audience and the atmosphere around them. So sometimes I mean I, and it's hard to say that this is what her work does because Mimi's work is so the body of work is quite large and different. And that's kind of part of why it's so exciting. But I can say that there are a few commonalities that I've noticed in studying her a bit. And that is that that ability to play with the relationship between the human and space. And so I think that for, for example, sake, you can really see that when she she can accomplish that through surprise. Like in an octaroon, for instance, like you actually watch the actors prepare the stage to transform, and you have no idea that that's what they're doing and then suddenly there's a big bang and it's like, there's a really different space and you didn't know that that was going to happen. But the element of surprise is strong there and then, of course. Oh, and I should note that the doctrine and an octaroon it's a great example of how her work, kind of dramaturgically lens to the meaning of the performance because this this big surprise that I'm talking about in an octaroon. There's a surgical purpose for it and like in the way that it creates this modern melodramatic sensation scenes so it's really theoretically grounded, I think. And then another way that you can see that kind of shifting relationship is when she upends expectations like, I mean, she completely transforms a Broadway theater so that the performers and the audience can become come into different theater. And of course there I'm talking about the great comment. And then I think this is actually maybe the most exciting to me is that I see her playing with the relationship by making familiar things into something that's strange. And that's really super clear and super terrain in which I'll plug again is streaming through Sunday so please go watch it. It's amazing. The idea of making the familiar strange is something that I find to be really important actually for one in a kind of new materialist sense of the of thought. It renews attention towards the agency of non human things in the world and the ways that the objects that were really intimately surrounded with how those affect us as humans. And then it also it this making the familiar strange it it helps us to envision and rehearse some different relationalities that the human can have with objects. And also importantly where the human and object they're kind of, they come together and understood more as collaborators rather than stuck in a stuck in a more fixed hierarchy. And I also find that there's relevance towards eco conscious thought, because some of the way the worlds that are presented and some of me needs work there. They're not necessarily for the human like it's not pleasant to listen to the sounds going on or like the light is uncomfortable or you know the, it's kind of creepy the way something moves across the stage. And I think that that's really valuable to take time at like to spend time in those kinds of spaces. And it's the way that we can as an audience we can witness or experience being kind of one small element embedded within an environment that exists for itself rather than for us. So the fact that Mimi creates work that is engaging with and contributing to philosophical thought is pretty exciting for me. And, and also, she is changing the audience relationship to the space in the theater, so that the relationship to space outside the theater might also then suddenly appear strange and be affected. And of course the fact that she does this through sometimes beautiful, sometimes not beautiful but definitely spectacular and captivating creations. It makes their impact even more impressive and effective in my eyes. So, yeah, she's her work is really exciting and I really encourage everyone who doesn't know her to just go start at our website but then go elsewhere and do more research. There's a lot to find. Let me say a little bit about how we thought about these some of these ideas when we were approaching both the award ceremony and the website. That idea of, of keeping the sense of the actual audiences body and the way that that body relates to space as a central kind of a first step really was that was how we were approaching it. And so when we were thinking about the live event that was really an important way of understanding how we might transform the space that we were going to be presenting in. And of course, since that wasn't available to us thinking about how the we generally will approach a website and how we understand information and how we're like a tuned or habituated into finding information there we wanted to change that just just a little in order so that you could see it anew. And I also think that there was a sense of of how the the reason that we're doing that. It was just for fun. It's actually, although it is fun. But it's also because that there's value in having your view refreshed really that that it's useful to get outside of your habituated perspective and try something else. So, go visit me million that Edwin booth award calm. That's, yeah, thank you Sarah that's really lovely and I should say Sarah is one of several scholars who provided a footnote to one of the shows. As Nick said at the beginning of this, we made a real effort in the website to both include artistic and academic tributes again to sort of to connect those so if of the many things that I would love to talk about in their profound observations, there's tons of time for you to find those on your own. I think it's on a little bit that I think is great it's just this idea of making the familiar strange. Not only because you know it's relevant to Mimi's work but because I feel like it could be a thesis statement for what we tried to do I mean throughout this whole process of figuring out how to do this digitally and in a new world. We've been wanting to still have some sense of like of liveness and immediacy hence we're here right now. That's you know that's that's been a big deal to us but but I do want to talk a little bit maybe if only from nostalgia about what it was we wanted this live event to be so great show would you mind talking to us a little bit about what our initial plans were and maybe how they translated. Since Mimi is our first memorable set designer recipient. We wanted to honor her by creating me is on scene for the awarding ceremony that can remind the audience of scenographic worlds Mimi created. And we had several ideas like, such as like exposing infrastructure like Cypiteranian adopting transparent plastic materials like in David Newman's dance piece of framing out of crumpled tinfoil like Jack which we partially did our cyber world having a non-nibbism, and we were planning to design a room for everyone to walk through and interact with me is creative, outstanding designs, objects and models. We wished we could create experiences that expand our conversation and theoretical engagement with me these words, which is actually nearly realized via a digital platform. And I mean that brings me to the part that we want to share about process. I myself am a dramaturg and a scholar and so most of all of what we're sharing tonight is a is a celebration and a rupture of the work that we often hide behind. We want to actually show you the scenes a bit of the website and we want to show you what it took to make the website and Nick and Steven, you guys are heavily involved with that so I want to send that over to you for a second. I would say that when we were thinking in the beginning of what this award was going to start when it was going to be, we always had at the core that we wanted to be able to share content with ourselves, and particularly also with future and setting set designers and practitioners who are interested in the collaborations between the set designers and a scholar or set designers and a dancer who wants to start to create work. So it's always been the idea that we would have open access and an intimate view. We would look at process and for somebody to then weave their own thoughts into relationships of process together so. So with that, Nick and Steven, I want to open up what it was like to identify the productions that we wanted to share. And what it was then like to conceive of a design and to start to bring the website to life. Yeah, Steven jumped in any time. It was, it was exciting I mean from the very beginning, I think, as soon as maybe maybe the day after Mimi heard about the award, she came to me and it was like, Okay, so who are these people, us, and who is going to be coming to this live event. And, and immediately wanted to know about the circumstances the people, the scenario the expectations which I think is an incredible testament to pretty much the way she approaches everything, which is, which is with deep consideration and. And so when the medium changed, she was, you know, quick to sort of lead us in, in a new format, where, you know, we thought we were going to feature two or three or four projects in, in person. And, and we were talking about what if we started translating that to a different way and she created this idea of a memory palace. Or like a home ground plan the ground plan of a home, but very low tech is very important that it's very aesthetically both dated and also, I guess timeless in that sense. It's sort of ASCII charm which is this old way of making computer graphics and things like that. And so, you know, we ended up then trying to figure out a version that invited the audience to explore on their own and find things that would be interesting to them so we kept the videos, all below five minutes that you can engage with on the website. So one minute, some are five. And each person can sort of get a different fingerprint of Mimi's work either tracing through her drafting and model making process or the production photos or the sometimes production videos and clips like that, as well as articles, and the videos that scholars have contributed to try to make sense of what the work of a designer is, which is something that is often invisible and not just set designers, but most designers all the time. And yet, one thing that Mimi's done is is is forcefully articulate the power that is possible in those media. I'll take a second. I know you've got the power to screen share. Do you want to. I got the power a little bit of that you have the power. Yes, here we go. So, this is what the booth award looks like it's a ground plan with some little decorations in each of these rooms. That's it. But you click on different rooms, and, and you're able to see the information about it so if I click on super terrain in. It pops me into this other universe where I see more about the creative team. And then, and this left hand column here there all these artistic tributes from creators of seagull of super terrain in, and as well as Sarah's academic tribute there. There are performers designers on this page and Dan the director is in the hallway because he's worked on her and with her in a lot of contexts. On the other side we have all these clips from the pig irons amazingly let us use and other sort of behind the scenes stuff production images, a 3D animation that was never really able to be put into effect of the audience moving at the end of the play sort of idea, and then models, early models and visual research so we hope this is a teaching tool for for teachers in BFA MFA and and sort of other academic context. This is a tool people can learn I mean I know when I teach design, I basically want people to find things like this. But it's always so disparate so maybe it's an opportunity to offer other ways of displaying an understanding the work of designers this our web designer Justin created an image of the wall falling in the nocturne cotton balls and people's faces I'm not sure how well it reads anything else I should go to I think that's all I got right now. I think that's great. See for yourself. I might add on top of that I mean I think all of that Nick is is profound and lovely. I just want to maybe add a personal observation about working with me on this in particular just one of the things that found really inspiring that next comments make me think about. When the world was still in a place where people saw each other in person. Early on when Mimi got the award she one of her first questions is can I come see the space where this is held and it me and I walked through the possible spaces we could hold it and I remember just being amazed that it was never about. What is this going to say about me or what are you guys doing for me it was always how is this going to feel for the audience how can we make this evocative or appropriate or just kind of fun and kind of cool and. And you know I think for theater makers right now theater makers and scholars like we're all theorizing on our feet like crazy to figure out like what is the essential quality of our art form, given that liveness is a hard thing to come around right now. I was just really inspired with how quickly Mimi was ready to make that shift into doing this as a website and just maintain that same question okay well we can't have people in person, how are we still going to make this cool for an audience. In other words like I just didn't see her theorizing about it I just saw her being like well let's get to work okay good we can't make it cool for them the way we thought we could how can we make it interesting now and. If nothing else, you know in all the great joys I've had working on this committee I've certainly taken that away as a really profound profound thing like the end we make it fun we make we worry about our audience and make it interesting. You know fun, is there anything that we haven't mentioned is there anything else we want to talk about I mean there's plenty but there's also plenty on the website which again is nearly and that Edward Booth award.com. I just also, yeah, want to plug jack, the performance base that Mimi co founded. There's a room there for jack and then there's also room for great comet which has documentation throughout the various iterations and awesome videos. The, the nice part about jack is that it's a different kind of space making that Mimi's engaged in. You know she's on the board of directors there and that's so her rep and, and she's really feeding and considering deeply the community's relationship to equity and justice and how theater can be of genuine service rather than lip service. And so, you know jack has been transformed into a place to distribute food in these times and so if you want to give a couple extra bucks somewhere go there. And it's a really important place that I think Mimi helped really set the spirit of and it lives very strongly and hopefully in person soon. Anything else that anyone else would like to talk about. I know we've all got lots of things to say but is there anything that feels feels good to mention right now. I would say what feels good. One more thing that I think feels good to mention is the diverse voices that are part of the tributes to Mimi, and you're going to get to see how practitioners directors, dancers and actors. Think of Mimi and then think of space and and scholarship isn't just something that we write but it's also something that we perform and everybody is part of that process and everybody's always perform working in dramaturgical ways. Mimi gives that space and shares that space with her collaborators who then also get to interpret and use that the the qualities of their environments and it gives us a sense of where and how we want to place ourselves in the world. So it's not just in the artistic practice but it sorry the artistic practice moves beyond the stage and into communities and into new processes and so it's kind of like a network of how we can think and shape how performances are made. So that's really exciting. Great. So we'd love to encourage you guys all to go and test our claim and see how exciting it all is. For the final time tonight the way you can do that is you can go to MimiLien.EdwinBoothAward.com. I'd also like to remind you that Pig Iron Theatre Company has been very generous to allow the Segal Center to stream two of their shows. Through this Sunday, May 31st you can see the show Superterranean on the Segal Center website and again you can see it and then go and see some of the scholarship and the artistic tributes on the website. And then starting the next day on June 1st through June 3rd we'll be streaming another Pig Iron show in which Mimi was involved called Love Unpunished. To close out I'd just like to say thank you all again for joining us. We really hope you've enjoyed and getting to hear us share some of what excites us about MimiLien and doubly we hope that you'll go and get excited yourself through the website. Take care everyone and have a nice night.