Francisco Roldan, a classical guitarist, and Elisabet Torras Aguilera, a dancer, will perform “Flamenco!” a free program of dance combined with the music of composers from Italy, Spain, and Central and South America, at the Montauk Library on Saturday at 7:30 p.m.

Ms. Aguilera, who studied flamenco at the Conservatory of Dance and Theatre of Barcelona, has toured internationally as a member of flamenco dance troupes, and now teaches in New York City. As a soloist, Mr. Roldan has appeared throughout the U.S. at festivals and major venues, including Lincoln Center, and has performed with ensembles such as the ZigZag Quartet and Compass Trio.

The Hampton Theatre Company in Quogue has announced its 2016-2017 schedule, which will launch in timely fashion on Oct. 20, less than three weeks before Election Day, with David Mamet’s 2008 Oval Office satire, ”November,” a peek at one day in the life of an egomaniacal and beleaguered president seeing reelection.

Subsequent productions will include “4,000 Miles,” Amy Herzog’s play about the unlikely relationship between a 91-year-old leftist and her questing grandson; Bernard Slade’s whodunit “An Act of the Imagination,” a brew of cunning, duplicity, and deceit, and Michael Frayn’s “Alarms and Excursions,” a collection of comedies of embarrassment.

For the first time, the theater is adding Saturday matinees to its performance schedule and offering discount tickets to theatergoers under 35, for $15. More information is available at hamptontheatre.org.

“My Lessons From Dogs,” a solo show written and performed by Patrick Christiano and directed by Kate Mueth, will be presented at Guild Hall on Sunday afternoon at 2. The program will benefit the Animal Rescue Fund of the Hamptons.

Mr. Christiano is an actor, director, producer, journalist, and publisher of theaterlife.com, a website devoted to reviews, features, interviews, and photographs of the theater in New York City. He is also broker with Town & Country Real Estate in East Hampton.

The play, which Mr. Christiano described as “a dialogue with the audience, except they don’t get to talk back,” was inspired by the author’s 22 years with Norfolk terriers, one of whom, Franki, now shares its home with Tallulah, a Norwich terrier.

“The piece is about rekindling my childlike energy,” said Mr. Christiano at his East Hampton house. “I sold real estate from 1989 until 2000. I put blinders on. That’s all I did. I got my first dog since childhood in 1997, and I noticed the change right away. I was becoming more like I used to be when as a kid I had a dog.”

The result of the renewed childlike energy was a return to the theater. “I still do real estate, but I’m focused more on theater.” In 1999 be began an ongoing acting workshop with Zina Jasper, a protégé of Harold Clurman. Since then he has portrayed Truman Capote in “Tru,” Jay Presson Allen’s one-person play, in Jacksonville, Fla. Other credits include Harold Pinter’s “The Lover,” Bill Manhoff’s “The Owl and the Pussycat,” and Shakespeare’s “As You Like It.”

“My Lessons From Dogs” was first workshopped at Guild Hall’s JDTLab in November 2014. “It was a reading, and I had just finished writing it. I worked with Kate Mueth for four hours on the stage there the night before putting it on. We literally rewrote it. I had never done anything like it. It was my voice. It was me. Acting is really different because you have a character to hide behind.”

During the play, which he stressed is still a work in progress, he talks about death, including people he knew who died and his own brushes with death, among them a serious automobile accident. “To me, unless you really know this is it, that life is not a dress rehearsal, you can’t be joyous, happy, and free. You’re holding on to something.”

Mr. Christiano, who is married to Barry Gordin, a photographer, is now writing a play that relates to his family in Alabama and, in the fall, he is directing a new play, “Thief in the Night,” by Paulanne Simmons, with whom he served on the Drama Desk nominating committee. “The thing about the dogs and childlike energy is that they allowed new things to happen.”

A $20 donation is suggested for admission. Reservations can be made by calling 631-434-5493 or emailing [email protected].

“Dear Elizabeth: The Letters of Elizabeth Bishop and Robert Lowell,” a play in letters by Sarah Ruhl, will be performed at Guild Hall by Kathleen Chalfant and Harris Yulin on Saturday at 8 p.m. The friendship between Bishop and Lowell, two of the 20th century’s most notable poets, spanned 30 years and yielded more than 400 letters, from which Ms. Ruhl drew a portrait of the intertwined lives of two very different personalities. 

The play premiered Off Broadway last October with Ms. Chalfant and Mr. Yulin in the title roles, which were subsequently played by a rotating roster of actors. According to Charles Isherwood of The New York Times, “Ms. Chalfant’s lovely, husky voice brings mellow nuances of emotion to the letters, without ever stepping into any histrionic puddles. . . . Mr. Yulin deftly combines the poet’s fierce defense of his work with a sense of contrition and sensitivity to his friend’s criticism.”

Tickets for the play, which also stars Chloe Dirksen, are $30 to $50, $28 to $48 for members.

The John Drew Theater Lab will return after a summer hiatus with a free reading of “H . . .,” a new play by Megan Minutillo, on Tuesday at 7:30 p.m. It is the story of three teenagers, Zoe, Gemma, and Owen, who are struggling with heroin addiction and its effect on their lives and those of their families and friends.

Ms. Minutillo has directed and produced productions at Guild Hall and the Bay Street Theater in Sag Harbor as well as throughout the tristate area.

Guild Hall will launch Guild Gathering: Creative Networking Night, a new programming initiative of the East Hanpton Arts Council designed to engage and connect artists, professionals, and the public on the East End, next Thursday evening from 7 to 9. During the first hour, artists from various disciplines will present their work, after which the audience and presenters will have an opportunity to meet and interact.

Presenters for the first program will be Annette Danto, a filmmaker; Dalton Portella, an artist, musician, and surfer; Charles Ly, an artist; Alex Mankiewicz, an illustrator, and Lisa Trivell, an artist and healer. The free programs will take place in the Boots Lamb Education Center. 

The Robert Giard Foundation, which supports artists exploring gender issues and the lesbian, gay, bisexual, transgender, and queer experience, will host a benefit on Sept. 17 from 5 to 7 p.m. at the Tee and Charles Addams Foundation in Sagaponack. Bob Morris, a contributor to The New York Times, The New Yorker, and other publications, a Lambda Literary Award-winner, and a novelist whose most recent work is “Bobby Wonderful: An Imperfect Son Buries His Parents,” will be the guest of honor and speaker.

The foundation, established in honor of the late Robert Giard, an Amagansett photographer whose book, “Particular Voices: Portraits of Gay and Lesbian Writers,” paired black-and-white portraits with selections of writers’ work, awards a $7,500 annual fellowship to artists working on a project in photography, photo-based media, film, video, or moving image that addresses issues of sexuality, gender, or LGBTQ identity.

Before his death in 2002, Mr. Giard had made almost 600 portraits of writers from the East End and across America. “It’s a commitment to making gay lives visible,” said Jonathan Silin, who was Mr. Giard’s longtime partner, from his house in Amagansett last week, speaking of both Mr. Giard’s work and the foundation’s annual fellowship. 

Mr. Silin said that he believes the fellowship award is the largest of its kind. There were more than 120 applicants for this year’s award from around the world, he said, including artists hailing from South America, Europe, and Africa. 

“Our recipients have been a really diverse group,” Mr. Silin said. The current fellow, for instance, Leonard Suryajaya, is a second-generation Chinese and Indonesian artist who grew up in Indonesia, where there have been a number of antigay incidents. He “does incredible color photographs in which he often uses his family,” Mr. Silin said. 

The 2014 fellow, Ka-Man Tse, hails from Hong Kong and documented gay and lesbian life there. “The diversity is quite amazing,” Mr. Silin said. 

The fellowships are administered by the Center for LGBTQ Studies at the City University of New York. Recipients return to make a presentation following their year of work.

Mr. Morris will give an informal talk at the fund-raiser next week. In past years, guests at the Giard Foundation events have included Mark Doty, a National Book Award-winning poet, and Edward Albee, the playwright who founded a retreat center for writers and visual artists in Montauk, who, said Mr. Silin, “made an impassioned plea for the importance of small arts foundations in a time of cutbacks.” 

In 2013, Tony Kushner, who won a Pulitzer Prize for his play “Angels in America: A Gay Fantasia on National Themes” was the speaker; the next year it was another Pulitzer winner, Michael Cunningham, the author of “The Hours.” Mr. Cunningham also used the occasion to discuss the importance of small arts foundations such as the Giard Foundation and their impact on emerging artists, discussing a grant he received when he was working as a waiter and never thought he would achieve a writing career. “From then on he was moving forward,” Mr. Silin said. Mr. Cunningham underscored the way the grant “legitimized” him as an artist. 

When he established the foundation in his late partner’s memory, said Mr. Silin, his goal was to provide grants that would give artists the financial support they need to dedicate a period of time to their work. “But I didn’t realize the lasting, nonmonetary value of what a small foundation could do in somebody’s creative life.”

Blanche Wiesen Cook, a history professor and Eleanor Roosevelt biographer, and Clare Coss, a playwright, are supporters of the foundation and were guests of honor at a Giard Foundation spring event this year in New York City. 

“I’m amazed about how a determined group of people have made this thing work and grow,” Mr. Silin said last week. Support this year of the Tee and Charles Addams Foundation, which is helping to underwrite the fund-raiser, leverages the ability of each small foundation to make a difference, he said. 

Besides the support of other artists documenting gay, lesbian, and other lifestyles, the foundation was founded to preserve Mr. Giard’s photographic legacy. His photographs are still widely seen and used; Mr. Silin gets numerous requests each year regarding the portraits. A new biography about the late poet Adrienne Rich will include Mr. Giard’s photos of her, and works are to be added to the permanent collection of the Museum of the City of New York. Mr. Giard’s entire archive was acquired in 2014 by the Beinecke Rare Book and Manuscript Library at Yale.

“The way the work stays alive,” he said, “is really the best” memorial to Mr. Giard.

Mr. Giard worked to capture images of artists in their own environments and create honest portrayals of them. Mr. Doty said this week that the Giard photograph of him is his favorite; the photographer had an “appreciative curiosity,” he said in 2014, and a “receptivity.” 

“When I step back I am deeply gratified by the way that Bob’s portraits, made in our tiny darkroom in Amagansett, are being seen by more and more people — in books and museums, online, and in the media,” Mr. Silin wrote in an email this week. “His work, making LGBTQ lives visible, is carried on in wonderful ways by the Giard Fellows. Daily, as he wrote, viewers around the world are saying to themselves, ‘These people were here; like me, they lived and breathed. So too will the portraits . . . respond, “We were here, we existed. This is how we were.” ’ ” Tickets to the benefit are $125, or $250 for sponsors, and can be purchased online at nycharities.org.

It’s rather odd to think of a show of Minimalism in a place like Guild Hall, which has historically dedicated itself to more homegrown art. Minimalism seems anything but, which is why “Aspects of Minimalism” is exciting and almost a bit naughty, as if the museum were cheating on its partner.

When you think of the East End, Minimalism is not the first movement, or even the 21st movement that comes to mind. On the early side of the art colony’s timeline, there are the sweeping Western landscape vistas of Thomas Moran that he painted in East Hampton from his in situ sketches as well as the more intimate settings he chose as subjects here. Other 19th-century and early-20th-century painters such as Childe Hassam and William Merritt Chase were also active here. 

The next significant artistic influx came after World War II, when several members of the New York School found second homes and studios here. This group’s highly personalized, even emotional visions, executed with gestural marks and imprints clearly in the artist’s hand, were everything that Minimalists reacted to in their emphasis on mechanical and orderly processes. Their materials, mostly industrial and often fabricated or mass-market, were executed with rigid geometric and linear forms.

Roy Lichtenstein, James Rosenquist, and Andy Warhol represented American Pop Art in the 1960s and ’70s, taking up residence in Southampton, East Hampton, and Montauk respectively, and then the next wave came in, with painters who hit their stride in the 1980s — Eric Fischl, Ross Bleckner, and Julian Schnabel and members of the Pictures Generation such as Cindy Sherman and Richard Prince. Artists associated with the original Minimalist movement such as Dan Flavin and Frank Stella found their way here, but they were the exceptions. The most clear connection the exhibition has to the South Fork is the primary lender, Leonard Riggio of Bridgehampton.

The show’s title makes it plain that the guiding principle of its organization is less strident and more spiritual, which gives the exhibition a kind of inclusionary warmth it might not otherwise have.

The installation displays several Flavin florescent pieces and Robert Irwin’s more recent interpretation. There is no Stella, but the broad net brings in a number of exciting proxies such as Joseph Beuys, Blinky Palermo, Rachel Whiteread, Gerhard Richter, and Edward Ruscha. 

The traditionalist old guard is represented here as well with a couple of strong Agnes Martin paintings, two Donald Judd sculptures, and a glass cube by Larry Bell. They are joined by some proto-Minimalists such as Josef Albers. Bridget Riley, On Kawara, and a very uncharacteristic painting by Warhol round out the group of 12 artists represented.

It is the Warhol that stands out, mostly because it is unexpected and seems to relate more to the Abstract Expressionist aesthetic. The silkscreen process and synthetic polymer that helped create the work does allude to mechanical fabrication, but the resulting canvas sure doesn’t look like it. Sea green takes up the top and right side of the canvas in varying densities. Another band of the color near the bottom looks like a gestural green slash. What also makes the work stand out, since this is a collector’s show, is that it is so unlike the classic Warhol oeuvre. Given the inordinate amount of consideration the art market holds in determining aesthetic value, most collectors in it for the investment value would never choose a work so far outside of the artist’s norm. It is commendable that someone let their taste and intellect guide them in a purchase, rather than the dictates of resale.

The fact that the Flavins are all from the same year or so, 1963-64, captures the artist at a moment in time. Conversely, the broad range of dates of Donald Judd’s work underline the consistency the artist has adhered to throughout his career.

The English artists Bridget Riley and Rachel Whiteread are both bracing choices, again mostly for the unusual experience of seeing them here. Ms. Riley’s Op Art provides at least 20 percent of the vibrant color in a show that features a great deal of tonal work. The paintings look gleeful and irreverent compared to their often-somber neighbors. Ms. Whiteread’s casts of both a window and a brick wall laid over each other offer a dose of urban-inspired claustrophobia. The work’s linearity and flattened pattern could be seen as merely geometry to a purist, but its psychological effect is undeniable.

The exhibition remains on view through Oct. 10. Ms. Strassfield will give a talk in the gallery on Sept. 17 at 2 p.m. The museum will gather a group of regional artists to give their response to the works in the show on Oct. 1 at 2 p.m.

With the release on Tuesday of “Pedro ’n’ Pip,” a rock ’n’ roll odyssey about a girl and an octopus who partner to clean up the oceans, Taylor Barton, a singer and songwriter who has released multiple albums, offers a 25-year-old creation in an innovative new form that marries text, images, and sound. 

Ms. Barton, who lives in Amagansett, rewrote “Pedro ’n’ Pip” two years ago, she said, after being commissioned by the Environmental Defense Fund to create an educational work following BP’s Deepwater Horizon oil spill, which killed 11 people and poured millions of barrels of oil into the Gulf of Mexico. 

“It is the work I’m most proud of, of everything I have done in my entire career,” she said. “My biggest intention is to have it as a course in sustainability in middle schools across the country.” 

“I don’t know how many people up north are really aware of how devastated the Louisiana swamplands were by the BP oil spill,” Ms. Barton said. “But it is significant. It’s a big problem that needs to be addressed, always. But I like to stay on the positive side, and teach kids how their contribution to cleaning up anything in the water keeps our rock ’n’ roll octopuses happy.”

Along with an expression of her passion for environmentalism, Ms. Barton is particularly excited about the fusion of book and sound recording enabled by tablets such as the iPad. In the e-book format, with a touch of the “play” button on pages interspersed throughout, 14 recordings that accompany the story play on one’s tablet. 

“This is actually in the book,” she said of the music. “You get it on iBooks, you start reading, and right there you click the song; you read the lyrics while you’re hearing the song. That part is so, so cool. I’ve always been trying to work a story and music together, and I think all kinds of people are going to see that this is awonderful new format for telling a story. That also lends itself to the school experience, because so many kids learn on iPads now.” 

The songs can also be downloaded separately at the Apple iTunes store, and the printed book is available at Amazon and Barnes and Noble’s online store.

“Pedro ’n’ Pip” was conceived long before the BP oil spill. “I was 27,” Ms. Barton said. “I went on a trip with a friend to Cozumel, Mexico. The friend went scuba diving, and I fell asleep and started dreaming about this octopus that started speaking. I came home, and this was the first thing I ever wrote, these songs and this story about an oil spill and this little girl who wanted to clean up the ocean.” 

She financed the production of the book and music with a Kickstarter campaign, to which many artists contributed. “Artists supporting artists, getting it done,” she said. 

Along with Ms. Barton, the score features members of the a cappella group the Persuasions, Christine Ohlman, who is a singer on “Saturday Night Live,” Jenni Muldaur, David Broza, Robbie Wyckoff, Ella Moffly, Jillette Johnson, and a band led by the guitarist G.E. Smith, who is Ms. Barton’s husband. The music was recorded at studios in Manhattan and Weehawken, N.J., as well as in East Hampton, where Cynthia Daniels also mixed and mastered it at her MonkMusic Studios. 

“This was such a collective experience,” Ms. Barton said, “and as I said, a long time, from 25 years ago to now, bringing it to iPads.” 

In its e-book format, “Pedro ’n’ Pip” includes a link to the Environmental Defense Fund’s website, with an encouragement to donate, “because it is a story about bringing kids tools to clean up the ocean,” Ms. Barton said. The print edition also includes the fund’s website address. A portion of proceeds from the book will be donated to the organization. 

Marcia Previti has immersed herself in intricately detailed spaces filled with harmonious sounds, striking objects, and serene scenery, much of it her own creation — fitting for a former architect who has taken up mixed-media sculpture, singing, and gardening in her retirement.

Ms. Previti, who lives in a house in Springs that she and her husband, Peter Gumpel, also an architect and a watercolor artist, designed themselves and had built in 1991, does it all with the goal of mixing form, function, and finery.

“To me, life is about as much beauty as you can bring into it,” she said recently.

To achieve that, Ms. Previti has traveled extensively, bringing back souvenirs such as urns, lanterns, ceramics, and light fixtures from places like India, Italy, Africa, South America, and the Middle East. She has made purposeful choices about space and symmetry in her home, which she describes as a postmodern bungalow, with quite a few do-it-yourself projects, such as an outdoor wrought-iron candle chandelier, needlepoint, a carved stairway newel post, and even self-customized Ikea furniture.

“A lot of our life is craft projects,” Ms. Previti said. “If we can’t find it, we’ve got to make it.”

And surrounding her house, she has tended several distinct garden rooms, done mostly without the help of landscaping professionals. They have been regularly featured on the Garden Conservancy’s public tours on the East End, the Old Stone Stroll, and others. For four out of the last five years, Ms. Previti and Mr. Gumpel have also opened their gardens as a venue for a benefit show featuring and supporting the Amanda Selwyn Dance Theater of New York City.

A walk-through of the gardens reveals sculpture upon sculpture by Ms. Previti, crafted from materials including wood, copper piping, lightbulbs, and tree branches both real and fabricated. Some are collaborations with Mr. Gumpel, who also counts woodworking among his talents, and all are about expressing the fun in art and “finding ways to put unexpected elements together in outdoor space, in ways that feel organic but are not,” Ms. Previti said.

For instance, her sculpture “Copse Reviver” comprises nine tall copper tubes, spaced equidistant in a square, rising from the ground straight as arrows but evolving into tree branches, all painted in cobalt. “It’s the architectural blossoming into the organic — the strict nature of the grid then loosening into life,” Ms. Previti said.

Her “Brain Storm,” “Cirripedia,” and “Cnidaria” series consist of lightbulbs, the pointed types, fixed together in round clusters using foam or metal. They rise on stands from the ground or reside on driftwood or attached to trees. Ms. Previti even used the medium last year to design a bra for the annual Reconstructed Bra Fashion Show and Auction that benefits Lucia’s Angels and the Coalition for Women’s Cancers at Southampton Hospital. “Brain Storm” was named for the genesis of the idea, while “Cnidaria” is the scientific name for the sea anemone, and “Cirripedia” is the scientific name for the barnacle. Photographs of her sculptures can be found on her website, marciapreviti.com.

“The vision came to me while I was remembering a series of mobiles I made in college using paired lightbulbs with the glass cracked off,” she explained. “Somehow that led me to using glass in a spherical format. . . . They are like sea creatures to me come alive in a non-sea environment.”

Ms. Previti is a member of the Choral Society of the Hamptons, for which she sings as a soprano. She is also a member of the Chickpeas, an all-girl singing ensemble, and performs on her own from time to time at coffeehouses and restaurants. The retired architect has released a solo album of blues and jazz, appropriately titled “Blues Prints,” with tracks including the Gershwins’ “It Ain’t Necessarily So” and the traditional folk song “St. James Infirmary Blues.” A second album is in the works.

Ms. Previti credits her parents with passing down their creative talents and nurturing her artistic instincts. She is the daughter of the late Marte Previti, a chemical engineer who was also a photographer and art dealer, and Elisabeth Carron, a well-known soprano particularly noted for her portrayal of the heroine of Puccini’s “Madama Butterfly.”

But she never took a single singing lesson from her mother.

“She would offer lessons, but I always said no. I just couldn’t imagine competing with what she had,” said Ms. Previti, who takes lessons locally with Jane Hastay. “I sang in choruses, but I didn’t take a lesson until I was in my 50s, and even then, I did it secretly. That was in the city. I came out here and decided to branch out a little bit.”

She said she feels at home in the arts community on the East End, and feels a sense of “personal success and satisfaction.”

“I’m very appreciative when people like what they see,” she said. “I’m happy to do it for myself and for whoever wants to come share it with us. There’s no stress, all joy.”

Originally from New York City, Ms. Previti said she is fully enjoying life on the South Fork, which she and Mr. Gumpel have been visiting since 1981. They moved here full time last year.

“There are so many interesting people out here and so much to do it just amazes me,” she said. “Every day I wake up and think, ‘What of these things can I do today?’ It’s a very, very full and beautiful life.”

Center Stage at the Southampton Cultural Center will open its 2016-17 season with “Darren Ottati: An Evening of Broadway Ballads,” with shows Sunday and Monday at 7 p.m.

Mr. Ottati, whose performance of “Some Enchanted Evening” was one of the highlights of the Center Stage production of “South Pacific” in March, will be joined by several friends and fellow singers and the orchestra from “South Pacific” for an evening of Broadway ballads and showstoppers.

Light refreshments will follow each of the performances. Tickets are $35; the proceeds will benefit Center Stage.

Alvaro Restrepo, a renowned Colombian choreographer and dancer now in residence at the Watermill Center, will hold a free open rehearsal on Sunday at 4 p.m. at the Southampton Arts Center on Job’s Lane. Along with members of El Colegio del Cuerpo, the company he founded, Mr. Restrepo will rehearse “Negra! Anger!” It uses the music of Nina Simone and texts by Aimé Césaire, a poet from Martinique, and Victoria Santa Cruz, an African-Peruvian composer and choreographer.