63
FIRT/IFTRInternational Federation for Theatre Research
Annual ConferenceJuly 22nd - 26th, 2013
Christopher Balme, PresidentHelen Gilbert, Vice-PresidentChristina Nygren, Vice-PresidentBrian Singleton, Past PresidentSusan Haedicke, TreasurerJan Clarke, Secretary General (Administration)Paul Murphy, Secretary General (Communication)Charlotte Canning, Editor Theatre Research InternationalWinrich Meiszies (President of SIBMAS)
Khalid AmineBalakrishnapillai AnanthakrishnanAwo Mana AsieduElaine AstonBoris Daussà-Pastor (co-opted)Jean Graham-JonesKene IgweonuHanna KorsbergGay MorrisYasushi NagataEmer O’TooleAnneli SaroSteve WilmerFarah Yeganeh
Awo Mana AsieduBishnupriya DuttHayato KosugePeter W. MarxSigriður Lára Sigurjónsdóttir (Student Member)
Christopher BalmeJean Graham-Jones Christina Nygren (Working Groups)Awo Mana Asiedu (New Scholars Forum)
Boris Daussà-Pastor (Conf. Organizer, New Scholars Forum, Working Groups, General Panels, Website)Mercè Saumell (Conference Organizer, Keynotes, General Panels,Social Programme)Jaume Ponsa (Conference Assistant)Carme Saldó (Visa Coordinator & Liason to Publishers)
Enric Satué (Image and Graphic design)
Mercè Saumell (Editor)Artefacto (Designer and Copyeditor)
Ramón Jovells, Institut del Teatre General Manager (Conference Executive Production)Francesca Alaminos (Administrative Coordination)Artur García (Website Contents Manager)Laura Conesa (Social Programme Coordinator)Jordi Aubach (Press and Public Relations)Maria Guillén (Production Assistant)Eulàlia Conangla (Liaison to Centenary’s Office)
Cristina Cordero (Volunteer’s General Coordinator)Marc Chornet (Open Mic Coordinator)Laia Falp (Accomodation Liason)
EXECUTIVE COMMITTEE IFTR-FIRTCOMITÉ EXÉCUTIF IFTR-FIRT
Elected Members& Co-opted Members
Incoming Members
CONFERENCE ADVISORYCOMMITEE (FIRT 2013)COMITÉ CONSULTATIF (FIRT 2013)
BARCELONACONFERENCE COMMITEECOMITÉ DU CONGRÈSDE BARCELONE
Conference Image
Conference Programme
INSTITUT DEL TEATREStaff collaboratingwith the ConferencePersonel qui a collaboréavec le Congrès
Volunteer’s Coordinating Team
The Routes of Barcelona’s Conference /Les Routes du Congrès de Barcelone
Keynotes
General Conference Calendar
Conference Sessions
Other Academic Activities
Additional Activities during the Conference
Publication launches
Working Group-Sponsored Activities
MAE Visits
Open MIC
Social Programme
Practical Information
Access & Health Care
Floor Plans
City of Theatre
Restaurant Guide
Who is Who?
7 / 9
11
18
21
91
95
97
98
99
103
107
109
116
118
123
Contents / Sommaire
Creating this Programme has been an arduous and beautiful endeavor. It shows the dynamism of theatre scholarship and its protagonists, the scholars that contribute with their work, but it also shows our character and choices as organizers. The papers and panels you will see cover not only a wide range of themes taking center stage but also a rich array of perspectives for the study of performance. All 22 Working Groups of the International Federation for Theatre Research (FIRT/IFTR) are convening this year in Barcelona—and even new Working Groups seem to be in the making—showing a sustained ef-fort for developing theatre and performance scholarship in very diverse areas. Some of them are also presenting this year the results of their work in the form of publications. In addition, the theme of the conference generated an over-whelming response, with a number of scholars providing different takes on how we can rethink theatre and performance scholarship in the context of the routes that it has taken and the roots from where it may have originated. We hope that this theme will not only offer a possibility to view performance and performance scholarship as something fluid and intricate, but will also be the chance to review the ro(o)utes of our field and the possible paths that may lay ahead of us. On this note, the Programme also shows an impressive amount of New Scholars that contribute to the field challenging theatre scholarship with renewed interests and perspectives; they are the promise of a healthy future in our field, a promise that is in fact already here.
This year’s marks a new structure for FIRT/IFTR Conference that inte-grates Working Groups within the general conference schedule rather than in a discrete section before the general conference starts. In line with this new direction taken by FIRT/IFTR Executive Committee, we decided to offer ad-ditional spaces of visibility for Working Groups within the general Conference with a number or Working Group-sponsored General Panels that will show-case their work and interests for the consideration of all colleagues. In addi-tion, we also wanted to capitalize on the alliances and shared interests already existing among some of us, allowing for the possibility of presenting full panels in the form of what we called Curated General Panels. We were happy to see the positive response that this initiative also had.
In addition to the usual scholarly presentations typical of a FIRT/IFTR Conference, we decided to add a platform for the showcase of some practical work, with the intention of inviting not only conference participants but also artists and students from our own local community. We organized the Open MIC at the end of the day after conference sessions are over. This is a rather informal setting for the presentation of short fragments of practical work, with no rehearsal, and little technical equipment. We are thrilled to see that the
7
The Routesof Barcelona’s Conference
8 9
La création de ce Programme a été un effort ardu mais agréable. Il montre le dynamisme des Études Théâtrales et ses protagonistes, les chercheurs qui contribuent par leur travail, mais il montre aussi notre caractère et nos choix en tant qu’organisateurs. Les communications et les panneaux que vous ver-rez couvrent non seulement un large éventail de thèmes, mais aussi un riche éventail de perspectives pour l’étude de la performance. Les 22 Groupes de Travail de la Fédération Internationale pour la Recherche Théâtrale (FIRT/IFTR) ont convoqué cette année leurs rendez-vous à Barcelone—et même des nouveaux groupes de travail sont en train de se constituer—, un fait que montre l’effort soutenu pour développer les études sur théâtre et performance dans des domaines très divers. Certains d’entre eux présentent également cette année les résultats de leurs travaux sous forme de publications. En outre, le thème du congrès a suscité une réponse enthousiaste, avec un certain nombre de spécialistes qui fournissent des visions différentes sur la façon dont nous pouvons repenser les études sur le théâtre et la performance dans le contexte des routes qu’ils ont prises et les racines (roots) d’où ils peuvent provenir. Nous espérons que ce thème offrira la possibilité de considérer les performances et l’études de la performativité comme quelque chose de fluide et complexe, mais sera aussi l’occasion de revoir les ro(o)utes de notre domaine et les chemins possibles que nous pouvons y prévoir. Sur cette note, le programme montre également une quantité impressionnante de Nouveaux Chercheurs qui con-tribuent au domaine des études théâtrales avec questions difficiles et avec des nouveaux points de vue et des énergies renouvelés; ils sont la promesse d’un avenir pour notre domaine en bonne santé, une promesse qui est en fait déjà arrivée.
Cette année marque une nouvelle structure pour les Congrès FIRT/IFTR qui intègre les groupes de travail dans le calendrier général du congrès, plutôt que dans une section distincte avant que le congrès générale commence. En ligne avec cette nouvelle orientation prise par le Comité Exécutif FIRT/IFTR, nous avons décidé d’offrir des espaces supplémentaires de visibilité au sein du congrès générale pour les groupes de travail avec plusieurs panneaux générales qui présentent et mettent en valeur le travail et les intérêts des Groups de Travails devant tous les collègues. En outre, nous avons également voulu capi-taliser sur les alliances et les intérêts communs qui existent déjà entre certains d’entre nous, en prévoyant la possibilité de présenter des panneaux entiers sous la forme de ce que nous appelons Curated General Panels. Nous étions heureux de voir la réponse positive que cette initiative a eu aussi.
En plus des présentations scientifiques habituelles typiques d’un congrès FIRT/IFTR, nous avons décidé d’ajouter une plate-forme pour la vitrine de
Open MIC programme has truly become a mixed program of local and inter-national proposals.
The practical job of putting together, editing, and organizing the Confer-ence Programme you have right now in your hands has also been quite a labor of love, made possible by long nights and many people helping. The editorial choices trying to find the most comprehensible way to organize the informa-tion with such a vast event were not always easy. In spite of all the help and hard work, we are probably bound to have made some mistakes; we apologize in advance and ask for your understanding.
You are now the protagonist of this event. We are grateful for the opportu-nity we’ve been given to work together with you towards this event, a celebra-tion of our field and an opportunity to learn from each other and grow. Thanks for your contribution.
Boris Daussà-Pastor Mercè Saumell
Les Routesdu Congrès de Barcelone
certains travaux pratiques, avec l’intention d’inviter non seulement les par-ticipants au congrès, mais aussi des artistes et des étudiants de notre propre milieu locale. Nous avons organisé le micro ouvert (Open MIC) à la fin de la journée après les sessions du congrès finissent. Il s’agit d’un cadre plutôt informel pour la présentation de fragments de travaux pratiques, sans répéti-tion préliminaires, et peu d’équipement technique. Nous sommes ravis de voir que le programme de micro ouvert (Open MIC) est véritablement devenu un programme mixte de propositions locales et internationales.
Le travail pratique de rassembler, éditer et organiser le Programme du Congrès que vous avez maintenant entre vos mains a aussi été tout un travail d’amour, rendue possible par des longues nuits et des nombreuses person-nes aidant. Les choix éditoriaux en essayant de trouver la façon la plus com-préhensible pour organiser l’information avec un événement de cette magni-tude n’étaient pas toujours faciles. En dépit de toute l’aide et le travail acharné, nous sommes probablement tenu d’avoir commis quelques erreurs, nous nous excusons à l’avance et vous remercions de votre compréhension.
Vous êtes maintenant le protagoniste de cet événement. Nous sommes re-connaissants de l’occasion que nous avons eu de collaborer avec vous à cet événement, une célébration de notre domaine et une occasion d’apprendre les uns des autres et de grandir. Merci pour votre contribution.
Boris Daussà-Pastor Mercè Saumell
10
The Re-Routing of Theatrical/Performative and of Theatre/Performance Studies (with Euro-American and Korean examples)
Patrice PavisUniversity of Kent. UK
Where is theatre going? Where is our research on theatre and performance leading us? Of course, nobody could ever answer such a question! So let me ask rather: how can we re-route our journey, leave the familiar track and look for unknown paths? It would be simpler to explain why theatre and why our own research can be déroutant, i.e. both re-routing and diverting (“diverting” in the sense of re-directing but also amusing), and why it is also disconcerting, desconcertante. I shall however keep hold of the metaphor and the Ariadne’s thread of routing/de-routing, rather than the aural image of concert/disconcert, to examine how contemporary performance of all kinds, how the most diverse cultural performances are now going their own way, and how we often have a hard time following and analyzing by adjusting, testing, inventing, diverting and re-routing our current research. I will use examples from contemporary Ko-rean performances in contrast with Euro-American experiences in performance practice as well as in terms of research methods. We might find out that it is no longer possible to separate completely practice and theory, or Western and East-ern approaches. We might discover, along the way, that globalization brings us together, but also sometimes estranges us. So let us look for a possible way—un camino—to find the Other as well as ourselves. I will use as compass only Anto-nio Machado’s warning: “Caminante, no hay camino, se hace camino al andar.”
Patrice Pavis was previously Professor of Theatre Studies at the University of Paris (1976-2007). He is currently a Professor in the School of Arts at the University of Kent in Canterbury. In 2011 and 2012 he has been Visiting Professor in the Department of Theatre Studies of the Korea National University of the Arts in Seoul.He published a Dictionary of Theatre (translated into 30 languages) and books on Performance Analysis, Contemporary French Dramatists and Contemporary theatre. His most recent book publication is: La Mise en Scène Contemporaine, Armand Colin, 2007 (English translation: Contemporary Mise en Scène: Staging Theatre Today, trans-lated by Joel Anderson, Routledge, 2012. Spanish Translation: Universidad Murcia, 2013). His current research areas include: performance theory; theory and practice of mise en scène; intercultural and globalized theatre; contemporary dramatic writ-ing; creative writing and staging; theory of contemporary theatre and performance.
Monday 22nd
5:30 pm - 7:00 pm
Keynote 1
Room: Teatre Lliure (Sala Fabià Puigserver)
Keynotes11
Keynotes
12
The Transformation of Opera
Joan MataboschLiceu Opera House. Spain
There are significant differences in the way opera houses are managed and run all over the world. In general, they tend to be very large institutions, sometimes excessively bureaucratic, and, most relevantly, resistant to change. In spite of such resistance, opera and opera houses have undergone radical changes since the 1950s, brought on by new conceptions of opera as an art and also by new ideas on management methods. The style of performance has changed, as has the role played by the updating of the repertoire, the importance of drama-turgy and stage direction, the way operas are produced, cooperation between theatres, budget structure, input from public funding, the planning of seasons, the way artists are engaged and the timing of their engagement, the function of “ensembles” of soloists in repertory theatres, the “star system,” the role of intermediaries, the relationship between opera and the modern audiovisual media, the weight of tradition in theatres with a long history, and the accessibil-ity of opera to ever larger, more socially diverse audiences.
Opera, beyond doubt, is an especially interesting example of the “re-rout-ing” of artistic practice, which, despite being associated in former times with the most diehard elements of the performing arts field, has succeeded, at least partially, in re-inventing itself. In the current situation, we stand at a key mo-ment to introduce changes that develop the potential of opera as an art while engaging with contemporary practice. For instance, theatres tended to be over-protective of their own production in individual terms, but practice has shown how increasing exchanges and collaboration is the way to go. Opera Europa has been a crucial organism to foster such exchanges, not only in terms of specific productions, but also in terms of practice and ideas. In its annual con-ferences, staff working in different areas such as technicians, marketing depart-ments, ticket and season ticket sales or human resources have come together to discuss, production experience, environmental concerns, dealing with chang-ing audiences or the uses of sponsorship.
Joan Matabosch is Artistic Director of Liceu Opera House in Barcelona since 2000. He holds a degree in Journalism from the Universitat Autònoma de Bar-celona, and he also studied Sociology and Music at Universidad Complutense de Madrid. He was president of Opera Europa until 2012, where he previously served as vice-president. Opera Europa is a leading organisation for Opera Festivals and Opera Houses from 35 European countries. As artistic director he has favored the incorporation of great directors of the opera scene such as Peter Konwitschny, Herbert Wernicke, La Fura dels Baus, Robert Carsen, Kalus Guth, David Pourtney, Stefan Herheim or Calixto Bieito and also expanded the repertoire with premieres of contemoporary operas and the revival of baroque titles.
Tuesday 23rd
8:30 am - 10:00 am
Keynote 2
Room: Teatre Lliure(Sala Fabià Puigserver)
Keynotes13
14
Garzón, Lorca, Almodóvar and the Performanceof Memory in Spain
Maria DelgadoQueen Mary, University of London. UK
On 24 January 2010 the Spanish magistrate Baltasar Garzón entered Madrid’s Supreme Court to begin a second trial for supposedly “abusing” his position in opening an investigation into the deaths of over 100,000 people during the Civil War and Franco regime. The trial, conducted as the right-wing Partido Popular (PP) begins a landslide four-year term of office in Spain, challenges the 2007 Law of History Memory introduced by Rodríguez Zapatero’s socialist government that put an end to the pact of silence that had marked Spanish de-mocracy since the transition years. Garzón’s unpicking of the Amnesty Laws of 1977—following his earlier strategy in securing Pinochet’s arrest in London in 1998 and the conviction of Argentine torturers in Madrid in 2005—has asked uncomfortable questions about the performance of democracy in Spain. “We don’t want to look to the past,” stated the PP’s ex-Prime Minister, José María Áznar at the commencement of Garzón’s trial. The grass roots civic move-ment initiating the exhumation of Spain’s mass graves, the ongoing fascination with the “disappeared” remains of Federico García Lorca and the visibility of historical memory as a prominent trope in the stage and screen work of Alfredo Sanzol, Pedro Almodóvar and J.A. Bayona, suggest otherwise. While Aznar pleads to leave the tombs undisturbed, Garzón argues for the alliance of memory and justice, embodied in the search for the corpse of a writer whose murder in the opening month of the Spanish Civil War positioned him as a prominent martyr of the left. This paper examines some of the ways in which activism, performance and historical memory interact in Spain, relating the mediatisation of politics to the cultural sphere.
Maria M Delgado is Professor of Theatre and Screen Arts at Queen Mary, Univer-sity of London and co-editor of Contemporary Theatre Review. She has published widely in the area of twentieth-century Spanish theatre and film with a particular interest in the work of performers and directors and the intersections between stage and screen cultures. She has further research interests in European theatre and contemporary Argentine theatre. Her books include Federico García Lorca (Routledge, 2008), ‘Other’ Spanish Theatres (Manchester University Press, 2003), and eight co-edited volumes including Contemporary European Thea-tre Directors (Routledge, 2010) and A History of Theatre in Spain (Cambridge University Press, 2012) and six further co-edited volumes. She is a contributing editor to Western European Stages and TheatreForum and co-edits the Theatre/Theory, Practice/Performance series for Manchester University Press. Her film work includes 15 years as a programme adviser on Spanish and Spanish-Ameri-can cinema to the London Film Festival. She has curated work for Ciné Lumière, BFI Southbank and the London Spanish Film Festival and is a programmer for the London Argentine Film Festival. Maria writes on film and theatre for a range of publications including Sight & Sound and Plays International, and is a regular contributor to a range of BBC radio programmes. She has served on a range of juries and panels, including the Rolex 2001–02 Mentor and Protégé Nominating Panel. She is currently Chair of the award-winning British theatre company ATC (Actors’ Touring Company), an Assessor for Arts Council England and a member of the UK’s Arts and Humanities’ Research Council’s Strategic Reviewers’ Group and the Leverhulme Trust’s Advisory Panel. She is currently engaged in a project on historical memory and culture in twenty-first-century Spain.
Wednesday 24th
8:30 am - 10:00 am
Keynote 3
Room: Teatre Lliure(Sala Fabià Puigserver)
Keynotes15
16Aa - Aa Keynotes17
Moving Objects (on the Performance of the Dead)
Margaret WerryUniversity of Minnesota. USA
Under what conditions can, should, and do we attribute performative agency to inanimate entities? What might we learn historiographically from the ways that such actors traverse geo-political space? This presentation brings the con-ference theme’s concern with the “routes of performance” into dialogue with the study of the “entangled objects” (as anthropologist Nicholas Thomas has called them), indigenous artifacts whose complex colonial-era peregrinations ended in metropolitan museums. I focus on moko mokai, preserved Maori heads that have recently become pawns, or pivotal actors, in the confronta-tion between the formerly colonial museum establishment and its indigenous critics. Detailing the journeys of moko mokai from their colonial origins as works of mortuary art, war trophies, agents in intertribal diplomacy, items of gruesome trade with Europeans, and prized exhibits in metropolitan collec-tions, I also examine the ways in which they have shifted epistemological and ontological categories over their “life”-times. While museological and political consensus has it that the most recent phase of these journeys—repatriation—means the heads’ burial, and thus their retirement from these economies and closure to their traumatic histories, my analysis of the highly theatrical, state-dramaturged events attending their homecomings suggests the opposite: they continue to act, both playing and confounding the new role in which they have been cast, as protagonists of global cultural economy alliances. I argue that there are reasons (other than their status within matauranga Maori, or Maori knowledge systems) to regard moko mokai as actors, possessed of their own recalcitrance and vitality, and by extension, perhaps, rights. Ultimately, this presentation presses for a recalibration of our discipline’s commitment to both “liveness” and “humanism” by reconsidering the fundamental definition of animacy on which they are based.
Margaret Werry is an Associate Professor at the University of Minnesota, Twin Cities, in the Department of Theatre Arts and Dance. She is an interdisciplinary scholar trained in Performance Studies (PhD Northwestern University, 2001), who works across the fields of Theatre, Anthropology, Cultural Studies, and Cul-tural History. Her recent book, The Tourist State: Performing Leisure, Liberalism, and the Racial Imagination (University of Minnesota Press, 2011) examines the relationship between tourism, performance, ethnic politics, and liberal statehood, looking at cultural policy and tourism practice in the South Pacific at the turn of the twentieth century, and the turn of the twenty first. Her other scholarly inter-ests include critical and experimental pedagogy, museology, multimedia perform-ance and conceptual art, indigenous politics and intercultural theatre. She has published on these topics in a range of international journals, including Public Culture, Cultural Studies, Theatre Journal, Performance Research, TPQ, Review of Cultural Studies, Education and Pedagogy, TDR, and Essays in Theatre, and her research has been supported by grants from the Wenner Gren Anthropological Foundation, Woodrow Wilson National Fellowship Foundation, and American As-sociation of University Women, amongst others. She recently held a fellowship at the International Research Centre at Freie Universitat Berlin, with the Interweav-ing Performance Cultures project. Her current research pursues two projects, one on the history of Oceanic performance, indigenous historiography, and early intimations of global indigenous identity, and the other on the place (and perform-ance) of human remains in contemporary museums.
Thursday 25th
8:30 am - 10:00 am
Keynote 4
Room: Mercat de les Flors (Sala MAC)
18 19
M
onda
y, J
uly
22
Tu
esda
y, J
uly
23
W
edne
sday
, Jul
y 24
Th
ursd
ay J
uly
25
Fr
iday
, Jul
y 26
C
onfe
renc
e da
y 1
C
onfe
renc
e da
y 2
C
onfe
renc
e da
y 3
C
onfe
renc
e da
y 4
C
onfe
renc
e da
y 5
08.
00 a
m
Reg
istr
atio
n Ta
ble
open
s fr
om 8
:00
am u
ntil
7:00
pm
08.
30 a
m
08.
30 a
m
Wor
king
Gro
ups
Mee
ting
1
Key
note
2
K
eyno
te 3
Key
note
4
W
orki
ng G
roup
s M
eeti
ng 4
A
frica
n an
d Ca
ribbe
an P
uppe
try
Room
Jo
an M
atab
osch
Mar
ia D
elga
do
M
arga
ret W
erry
Afri
can
and
Carib
bean
Pup
petr
y Ro
om 1
0.00
am
A
rabi
c Th
eatre
P4.
S1
Teat
re L
liure
(Sal
a Fa
bià
Puig
serv
er)
Teat
re L
liure
(Sal
a Fa
bià
Puig
serv
er)
Mer
cat d
e le
s Fl
ors
(Sal
a M
AC)
Ara
bic
Thea
tre P
4.S1
10.
00 a
m
Asi
an T
heat
re P
4.S2
C
offe
e B
reak
Cof
fee
Bre
ak
C
offe
e B
reak
Asi
an T
heat
re P
4.S2
10.
30 a
m
Chor
. and
Cor
pore
ality
P2.
S4
Chor
. and
Cor
pore
ality
P2.
S4 1
0.30
am
Fe
min
ist R
esea
rch
P2.
S5
Gen
eral
Pan
el 1
Gen
eral
Pan
el 4
Gen
eral
Pan
el 6
Fem
inis
t Res
earc
h P
2.S5
H
isto
riogr
aphy
S4.
S2
GP.W
GS-3
4 T
eatr
e Es
tudi
GP
.WGS
-32
Tea
tre
Estu
di
GP.W
GS-3
1 T
eatr
e Es
tudi
H
isto
riogr
aphy
S4.
S2
Inte
rmed
ialit
y S
4.S7
GP
.CU
R-13
P2.
S4
GP
.WGS
-36
Pla
tó
GP
.CU
R-15
S4.
S7
In
term
edia
lity
S4.
S7
Mus
ic T
heat
re A
udito
rium
GP
.CU
R-38
P3.
S1
GP
.CU
R-16
Aud
itoriu
m
GP.C
UR-
12 P
2.S5
Mus
ic T
heat
re A
udito
rium
Pe
rf. a
nd C
onsc
ious
ness
P3.
S3
GP-7
S4.
S4
GP
-10
P3.
S2
GP
-4 A
udito
rium
Perf.
and
Con
scio
usne
ss P
3.S3
Pe
rf. a
nd D
isab
ility
Pla
tó
GP-1
3 P
2.S5
GP-1
8 P
3.S1
GP-2
0 P
2.S6
Perf.
and
Dis
abili
ty P
lató
Pe
rf. a
nd R
elig
ion
P3.
S1
GP-2
5 P
2.S6
GP-2
8 S
4.S6
GP-2
9 S
4.S8
Perf.
and
Rel
igio
n P
3.S1
Pe
rf. a
s Res
earc
h F
lam
enco
Roo
m
GP-3
0 P
lató
GP-4
3 S
4.S7
GP-4
7 S
4.S4
Perf.
as R
esea
rch
Fla
men
co R
oom
Perf.
in P
ublic
Spa
ces
S4.S
5 GP
-35
Fla
men
co R
oom
GP
-50
Fla
men
co R
oom
GP
-53
Pla
tó
Pe
rf. in
Pub
lic S
pace
s S4
.S5
Po
litic
al P
erfo
rman
ces
S4.S
6 GP
-58
S4.
S8
GP
-59
S4.
S9
GP
-61
S4.
S9
Po
litic
al P
erfo
rman
ces
S4.S
6
Popu
lar E
nter
tain
men
ts P
3.S2
GP
-67
S4.
S5
GP
-68
S4.
S4
GP
-75
P2.
S4
Po
pula
r Ent
erta
inm
ents
P3.
S2
Proc
essu
s de
Créa
tion
S4.
S4
GP-7
3 S
4.S7
GP-7
2 P
2.S6
GP-7
8 F
lam
enco
Roo
m
Proc
essu
s de
Créa
tion
S4.
S4
Que
er F
utur
es P
2.S6
GP
-79
Aud
itoriu
m
GP
-81
P2.
S5
GP
-85
P3.
S1
Q
ueer
Fut
ures
P2.
S6
Sam
uel B
ecke
tt S
cann
er
GP-8
4 P
3.S2
GP-8
6 P
2.S4
Sam
uel B
ecke
tt S
cann
er
Scen
ogra
phy
S4.
S9
Scen
ogra
phy
S4.
S9
Thea
tre A
rchi
tect
ure
Sce
no. W
orks
hop
Thea
tre A
rchi
tect
ure
Sce
no. W
orks
hop
Tr
ans,
Ada
pt. &
Dra
mat
. S4.
S8
Thea
trica
l Eve
nt S
4.S3
1
2.00
pm
Tr
ans,
ada
pt. &
dra
mat
S4.
S8 1
2.00
pm
C
offe
e B
reak
/Boo
k La
unch
C
offe
e B
reak
/Boo
k La
unch
C
offe
e B
reak
/Boo
k La
unch
C
offe
e B
reak
/Boo
k La
unch
12.
30 p
m
12.
30 p
m
NS
Foru
m 1
NS
Foru
m 2
Gen
eral
Pan
el 7
Gen
eral
Pan
el 9
N
SF-9
Pla
tó
N
SF-1
9 S
4.S9
GP.W
GS-3
3 T
eatr
e Es
tudi
GP
.WGS
-37
Tea
tre
Estu
di
NSF
-10
Aud
itoriu
m
N
SF-1
8 S
4.S8
GP.C
UR-
25 P
lató
GP.C
UR-
26 P
lató
NSF
-7 F
lam
enco
Roo
m
NSF
-22
Pla
tó
GP
.CU
R-18
S4.
S4
GP
-3 A
udito
rium
N
SF-5
S4.
S8
N
SF-1
7 S
4.S7
GP-6
S4.
S9
GP
-12
P3.
S2
NSF
-6 S
4.S9
NSF
-21
Tea
tre
Estu
di
GP-1
1 A
udito
rium
GP-1
9 S
4.S7
N
SF-3
S4.
S6
N
SF-1
6 S
4.S6
GP-1
4 S
4.S8
GP-5
2 P
2.S5
N
SF-1
S4.
S4
N
SF-2
0 F
lam
enco
Roo
m
GP-3
2 P
2.S4
GP-6
0 S
4.S9
N
SF-1
3 P
2.S6
NSF
-25
P2.
S5
GP
-38
P2.
S5
GP
-74
S4.
S4
NSF
-4 S
4.S7
NSF
-23
Aud
itoriu
m
GP
-46
Fla
men
co R
oom
GP
-80
Fla
men
co R
oom
N
SF-8
T e
atre
Est
udi
N
SF-1
5 S
4.S5
GP-5
1 P
3.S1
N
SF-1
1 P
2.S4
NSF
-14
S4.
S4
GP
-66
P2.
S4 2
.00
pm
NSF
-2 S
4.S5
NSF
-24
P2.
S4
GP
-82
S4.
S7 2
.00
pm
Lunc
h B
reak
N
ew S
chol
ars
Wor
king
Gro
ups
New
Sch
olar
s Lu
nch
Bre
ak
Lu
nch
Bre
ak
Lu
nch
Bre
ak
& S
iest
a W
orks
hop
1 Co
nven
ers M
eetin
g Re
cept
ion
& S
iest
a
& S
iest
a
& S
iest
a 3
.30
pm
P2
.S4
/ P2
.S5
S4.S
3 /
S4.S
2 Sc
eno.
Wor
ksho
p
M
onda
y, J
uly
22
Tu
esda
y, J
uly
23
W
edne
sday
, Jul
y 24
Th
ursd
ay J
uly
25
Fr
iday
, Jul
y 26
C
onfe
renc
e da
y 1
C
onfe
renc
e da
y 2
C
onfe
renc
e da
y 3
C
onfe
renc
e da
y 4
C
onfe
renc
e da
y 5
3.3
0 pm
O
peni
ng C
erem
ony
Gen
eral
Pan
el 2
Gen
eral
Pan
el 5
Wor
king
Gro
ups
Mee
ting
3
Gen
eral
Pan
el 1
0
Teat
re L
liure
(Sal
a Fa
bià
Puig
serv
er)
GP.W
GS-3
0 T
eatr
e Es
tudi
GP
.WGS
-35
Tea
tre
Estu
di
Afri
can
and
Carib
bean
Pup
petr
y Ro
om
GP-2
P2.
S4
GP.C
UR-
19 S
4.S9
GP.C
UR-
20 S
4.S9
Ara
bic
Thea
tre P
4.S1
GP
-15
Fla
men
co R
oom
GP
.CU
R-17
S4.
S8
GP
.CU
R-14
S4.
S4
A
sian
The
atre
P4.
S2
GP-2
6 P
2.S5
GP
.CU
R-21
P2.
S5
GP
-23
Aud
itoriu
m
Ch
or. a
nd C
orpo
real
ity P
2.S4
GP
-44
Pla
tó
GP-9
Pla
tó
GP
-37
P2.
S6
Fe
min
ist R
esea
rch
P2.
S5
GP-6
5 P
3.S2
GP
-16
P2.
S4
GP
-42
Fla
men
co R
oom
H
isto
riogr
aphy
S4.
S2
GP-7
1 T
eatr
e Es
tudi
GP
-36
P3.
S1
GP
-49
Pla
tó
In
term
edia
lity
S4.
S7
GP-7
7 S
4.S7
GP
-40
S4.
S4
GP
-55
P3.
S2
M
usic
The
atre
Aud
itoriu
m
GP-8
3 S
4.S4
GP
-41
Aud
itoriu
m
GP
-63
S4.
S9
Pe
rf. a
nd D
isab
ility
Pla
tó
GP-5
4 P
3.S2
GP-7
0 P
2.S4
Perf.
and
Rel
igio
n P
3.S1
GP
-62
Fla
men
co R
oom
GP
-76
P2.
S5
Pe
rf. a
s Res
earc
h F
lam
enco
Roo
m
GP-6
9 S
4.S7
Perf.
in P
ublic
Spa
ces
S4.S
5
Polit
ical
Per
form
ance
s S4
.S6
Pr
oces
sus d
e Cr
éatio
n S
4.S4
Q
ueer
Fut
ures
P2.
S6
Sam
uel B
ecke
tt S
cann
er
Scen
ogra
phy
S4.
S9
Thea
tre A
rchi
tect
ure
Sce
no. W
orks
hop
Th
eatri
cal E
vent
S4.
S3 5
.00
pm
Tran
s, a
dapt
. & d
ram
at. S
4.S8
5.0
0 pm
C
offe
Bre
ak
C
offe
Bre
ak
C
offe
Bre
ak
C
offe
Bre
ak
C
offe
Bre
ak 5
.30
pm 5
.30
pm
Key
note
1
G
ener
al P
anel
3
W
G M
eeti
ng 2
Gen
eral
Pan
el 8
Clo
sing
Cer
emon
y
Patri
ce P
avis
GP.W
GS-1
1 T
eatr
e Es
tudi
A
frica
n an
d Ca
ribbe
an P
uppe
try
R.
GP.C
UR-
29 T
eatr
e Es
tudi
M
erca
t de
les
Flor
s (S
ala
MAC
)
Teat
re L
liure
(Sal
a Fa
bià
Puig
serv
er)
GP.C
UR-
22 P
2.S5
Asi
an T
heat
re P
4.S2
GP
.CU
R-28
Pla
tó
GP.C
UR-
24 P
lató
Chor
. and
Cor
pore
ality
P2.
S4
GP-1
P3.
S1
GP-5
P2.
S4
Fe
min
ist R
esea
rch
P2.
S5
GP-2
1 S
4.S8
GP
-8 S
4.S4
His
torio
grap
hy S
4.S2
GP
-27
S4.
S4
GP-2
2 S
4.S9
Inte
rmed
ialit
y S
4.S7
GP
-34
S4.
S9
GP-2
4 P
2.S6
Mus
ic T
heat
re A
udito
rium
GP
-39
P2.
S5
GP-3
1 P
3.S1
Perf.
and
Dis
abili
ty P
lató
GP
-48
Fla
men
co R
oom
GP
-33
Aud
itoriu
m
Pe
rf. a
nd R
elig
ion
P3.
S1
GP-5
7 A
udito
rium
GP
-45
S4.
S7
Pe
rf. a
s Res
earc
h T
eatr
e Es
tudi
GP
-64
Fla
men
co R
oom
Pe
rf. in
Pub
lic S
pace
s S4
.S5
Po
litic
al P
erfo
rman
ces
S4.S
6
Proc
essu
s de
Créa
tion
S4.
S4
Que
er F
utur
es P
2.S6
Sam
uel B
ecke
tt S
cann
er
Scen
ogra
phy
S4.
S9
Thea
tre A
rchi
tect
ure
Sc.
Wor
k.
Thea
trica
l Eve
nt S
4.S3
7.0
0 pm
Tr
ans,
ada
pt. &
dra
mat
. Sc.
Wor
k. 7
.00
pm
Rec
epti
on
O
pen
MIC
Càp
sula
SC
AN
NER
O
pen
MIC
Ope
n M
IC
Teat
re L
liure
(Mai
n Fo
yer a
nd T
erra
se)
Atriu
m /
Tea
tre
Estu
di
Teat
re L
liure
(Sal
a Fa
bià
Puig
serv
er)
Atriu
m /
Tea
tre
Estu
di
Atriu
m/
Teat
re E
stud
i 8
.00
pm 8
.00
pm
Ope
n M
IC 8
.30
pm
(Mus
ic) -
Atr
ium
New Scholars Workshop 2 Flamenco Room
New Scholars Caucus Meeting P2.S4
Con
fere
nce
Sche
dule
It in
clud
es s
hort
codd
for e
ach
sess
ions
and
the
room
whe
rw th
e se
ssio
ns ta
kes
plac
es
20
Petrus du Preez Stellenbosch UniversityTracing a New Path: Afrikaans Theatre in a Post-apartheid South Africa and the Search for Redemption
Julius Heinicke Freie Universität BerlinHealing the Bad Memories: Theatre, Ritual and Reconciliation in Zimbabwe
Kene Igweonu Canterbury Christ Church UniversityFrom Fringe to Mainstream: Talawa Theatre and the Projection of African Diaspora on the British Stage
Haddy Kreie University of California, Santa BarbaraAesthetics of Globalization: Jean Luc Raharimanana’s Les Cauchemars du Gecko
Carla Springer-Hunte The University of West IndiesRenaissance of the Tongue
Introductory sessionModerators: Marvin Carlson & Hazem Azmy
Welcome, Introduction of Participants & Opening RemarksAdministrative Matters & Review of ATWG’s Past Meetings and Activities
Monday 22nd
Working Groups Meeting 1
9:00 am – 2:00 pm
African and Caribbean Theatre and Performance
Room: Puppetry Room
9:00 am – 2:00 pm
Arabic Theatre
Room: P4.S1
10:00 am – 10:45 am
21 Monday 22nd 9:00 am - 2:00 pm
Conference Sessions
Session Shortcode
WG = Working GroupGP = General PanelGP.WGS = Working Group-Spon-sored General PanelGP.CUR = Curated General PanelNSF = New Scholars’ Forum
Coffee Break
Whither “The Arab Spring”?: Field Notes from EgyptModerator: Caroline Herfert
Hazem Azmy Ain Shams UniversityThe Elite Strike Back? Staging the “Progressive” Intelligentsia in Post-Revolution Egypt
Coffee Break
Revisiting “Arabness” Moderator: Khalid Amine
May El Maraashly Alexandria UniversityArab-American Theatre before and after the Arab-Spring
Christine Matzke University of Bayreuth“We will be like other people in other places”: Performing the Nation at the London Globe notes on a South Sudanese Cymbeline
Discussion
Welcome. Papers & Discussion
Wonjung Sohn Korean National University of ArtsThe National Theatre and the “Modernization” of Korean Theatre 1957-1962
Joscha Chung National Chung Hsing UniversityLiang Qichao’s Theatre Experiment in Japan
Mitsuya Mori Seijo UniversityThe Third Stage in the Modernizing Process of Japanese Theatre
Yasushi Nagata Osaka UniversityAdapting Asia: Three Trials by Kaoru Morimoto
The exact distribution of discussion of papers is still to be decided and will be announced on the first session of the Working Group.
Raimon Ávila Institut del TeatreThe Motion Factors in Effort Actions of Rudolf Laban and his Legacy
Bettina Brandl-Risi Universitaet Erlangen-NuernbergRe-Drawing the Lines: Thinking about Image and Movement with Tino Sehgal and Meg Stuart
Rosemary Candelario Texas Woman’s UniversityNowhere/Now Here: Oguri’s Height of Sky
Paulina Maria Caon University of São PauloEmbodiment in Performing Arts and in Artistic Learning Processes:A Reflection about Two Cases
10:45 am – 10:55 am
11:00 am – 11:45 am
11:45 am – 12:00 pm
12:00 pm – 1:30 pm
1:30 pm – 2:00 pm
Asian Theatre
Room: P4.S2
9:00 am – 2:00 am
Choreography and Corporeality
Room: P2.S4
9:00 am – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm22
Gisela Dória UNICAMP, State University of CampinasTrisha Brown: A Performative Dramaturgy in Contemporary Dance
Joan Frosch University of Florida / Africa Contemporary Arts ConsortiumRerouting Women’s Work: Choreographing another Future
Holger Hartung Freie Universität Berlin, Interweaving Performance CulturesFissures: Moving along the Lines
Jeff Kaplan University of MarylandSiglo de Oro, Siglo de Ojo, Siglo de la Oreja (Century of Gold, Century of the Eye, Century of the Ear): Changing Embodiments in Spanish Golden Age Theatre Architecture
Wojciech Kowalczyk Adam Mickiewicz University in PoznańDada von Bzdülöw and Mikołaj Mikołajczyk: About Polish Physical Theater Condition
Rudi Laermans University of LeuvenGesturing Vulnerability: Remarks on, and Departing from, the Solo Work of Anne Teresa De Keersmaeker
Denis Leifeld Universität Erlangen-Nuremberg, GermanyRe-Writing Enigmatic Bodies: The Performance Artist Steven Cohen
Nidya Shanthini Manokara National University of SingaporeCultivating Love in Bharata Natyam Pedagogy
Maggi Phillips Edith Cowan University, WAAPA Academy of Performing ArtsRhizome-like Trails: Skipping into Cognition
Efrosini Protopapa University of SurreyDiplomatic Bodies: Redirecting, Sidetracking, Deflecting, Bypassing
Natalia Ramirez Universidad de ChileLa Recherche sur la Corporéité à Partir de la Pratique Créative et Sensiblede la Danse
Susanne Ravn University of Southern DenmarkDancing Aikido: Exploring how Embodied Competences are Transformed and Redefined in Interaction
Philipa Rothfield La Trobe UniversityReflecting Upon the Movement Between Theory and Practice
Sofia Varino Stony Brook UniversityMoving Dangers: Motion, Danger and the Queer Body in Performance
Gustavo Vicente University of Lisbon, Centre for Theatre StudiesLooking at Performing Arts through the Mnemonics of the Body:The Case of Portugal
Tiina Rosenberg Stockholm UniversityDon’t Be Quiet, Start a Riot! Anarchy, Affect and Activism in Pussy Riot’s Performance
Feminist Research
Room: P2.S5
9:00 am – 9:30 am
Monday 22nd 9:00 am - 2:00 pm23
Bishnupriya Paul (Dutt) Jawaharlal Nehru UniversityTransformative Routes: Trauma to “Feminist”-Performance Resistance
Nobuko Anan Birkbeck College, University of LondonWomen’s Performance and Neoliberalism in Japan
Short break
Jung-Soon Shim Soongsil University“Producing the Affect” and “Play Performativity”: Miss Julie’s Diverging Realities on the Korean Stage
Melissa Sihra Trinity College DublinThe “Symbolic Violence” of “Success” or “Failure” in the Plays of Marina Carr
Short break
Marla Carlson University of GeorgiaAffective Flow, Disrupted: The Curious Incidence of “Autism” in the Theatre
Fawzia Affzal-Khan Montclair State UniversityViewing of a video
Vibha Sharma Aligarh Muslim UniversityFemale Actors in Swaang: Negotiations with Neoliberal Performance Scenario in Post-1991 India
Opening sessionWelcoming new members, introduction to the topic
Uses of MythChair: Magnus Thorbergsson
Claire Cochrane University of WorcersterThe Purpose of Myth and the Pursuit of Truth: The Case of the Nia Centre
Hanna Korsberg University of HelsinkiMyth and Mobility in Internationalizing Theatre
Break
Russian questionsChair: Janne Risum
Laurence Senelick Tufts University
9:30 am – 10:00 am
10:00 am – 10:30 am
10:30 am – 11:00 am
11:00 am – 11:30 am
11:30 am – 12:00 pm
12:00 pm – 12:15 pm
12:15 pm – 12:45 pm:
12:45 pm – 1:15 pm:
1:15 pm – 1:45 pm:
Historiography
Room: S4.S2
9:00 am – 10:30 am
10:30 am – 11:00 am
11:00 am -12:00 pm
Monday 22nd 9:00 am - 2:00 pm24
The Force of Necessity, or the Accidental Evolution of the Moscow Art Theatre Prague Group
Nurith Yaari Tel Aviv UniversityFrom Myth to History: Habima’s immigration to Mandatory Palestine
Break
Culture of the USA Chair: David Wiles
Ken Cerniglia Disney Theatrical ProductionsMining Myth Origins Across the Atlantic: The Case of Peter and the Starcatcher
Rosemarie Bank Kent State UniversityWandering Tales of Others: Navigating Cultural Trade Routes in Earlier U.S. Theatre History
Mechele Leon University of KansasAuthenticity: The Commodity of Theatrical Import/Export
Introduction
Intermedial Experience and Engagement
Katia Arfara Onassis Cultural CenterStifters Dinge: The Entropic Landscape of Heiner Geobbels
Matthias Peter Bremgartner University of BernePlaying with the Frame(s): Theater Meets Comics in Hapless Hooligan in “Still Moving”
Discussion
Coffee Break
Intermedial Experience and Engagement
Luis Campos Rose Bruford CollegeIntermedial Performance and the Generative Conditions for an Epistemic Performance Encounter
Jo Scott Royal Central School of Speech and Drama, University of LondonConfrontation and Contradiction: The Site of Encounter in Live Intermedial Performance
Rosemary Klich University of KentInterMEdiation and the InterMEdial System
12:00 pm -12:30 pm
12:30 pm – 2:00 pm
Intermediality in Theatre and Performance
Room: S4.S7
9:00 am – 10:00 am
10:00 am – 11:00 am
11:00 am – 11:30 am
11:30 am – 1:00 am
Monday 22nd 9:00 am - 2:00 pm25
Discussion
Coffee Break
Reflection and (Re)Collection
Welcome
Jordi Pérez Solé Institut del TeatreThe Impact of Catalan Direction in the Opera Scene
Viv Gardner University of ManchesterJust What Did They Do in The Dairymaids?: An Exploration of Song and Dance in the Performance of the Musical Comedy Chorus 1900-1907
meLê Yamomo LMU- Ludwig-Maximilians UniversityTuning in to Modernity: Manila Musicos in Early Globalization
Anitra Davel University of PretoriaMulticulturalism and its Discriminations: Music Theatre in Post-Apartheid South Africa
Caleb Goh Edith Cowan University, WAAPA Academy of Performing ArtsThe Asian Voice in Musical Theatre: Cultural Upbringing Complex
Marcus Tan Queen’s University BelfastK-Contagion: Sound, Speed and Space in Psy’s “Gangnam Style”
Rashida Shaw Wesleyan UniversityInterdisciplinarity of “Black” Musical Theatre Reception Studies
Gareth Llŷr Evans Aberystwyth UniversityNew Directions: Performance Studies and the Postdramatic Dramaturgies of Musical Theatre
Session Ends
Welcome and Introduction
Marie Kelly School of Music & Theatre, University College CorkCasting Consciousness: Frames of Mind in the Casting of Contemporary Theatre
Gabriella Calchi-Novati Trinity College DublinJoseph DeLappe’s Digit(al) Interventions as “Subversive Ritournelles”
Break
Daniel Meyer-Dinkgräfe University of LincolnConsciousness, Spirituality and Composing for Opera
Ana Luiza Castro Independent ScholarAbout Presence and Unity: The Work on “Quality” in Peter Brook
William Pinchin Central School of Speech and Drama, University of LondonTransparent to the Transcendent: Jacques Lecoq’s Mythopoeic Pedagogy of the Neutral Mask
Session Ends
(Re)routing Disability Tragedy
Susan Schweik University of California at Berkeley(Re)routing Disability Tragedy
Rigour & Respect
Susanna Uchatius Theatre TerrificJames Coomber Theatre TerrificRigour, Respect and Disability Theatre
New Routes to Performance
Jennifer Goddard Queen’s University BelfastWhich Way to the Top? Creating Pathways into the Professional Arts for Learning Disabled Actors
Nathalie Fratini Universität Wien / Pädagogische Hochschule MannheimExperiments and Surprises: New Ways of Disability Theatre in Luxembourg and the Neighbour Countries
1:00 pm - 1:15 pm
1:15 pm - 2:00 pm
Music Theatre
Room: Auditorium
9:00 am – 9:30 am
9:30 am – 10:00 am
10:00 am – 10:30 am
10:30 am – 11:00 am
11:00 am – 11:30 am
11:30 am – 12:00 pm
12:00 pm – 12:30 pm
12:30 pm – 1:00 pm
1:00 pm – 1:30 pm
2:00 pm
Monday 22nd 9:00 am - 2:00 pm26
Performance and Consciousness
Room: P3.S3
9:00 am – 9:30 am
9:30 am – 10:15 am
10:15 am – 11:00 am
11:00 am – 11:30 am
11:30 am – 12:15 pm
12:15 pm – 1:00 pm
1:00 am – 1:45 pm
2:00 pm
Performance and Disability
Room: Plató
9:00 am – 9:30 am
9:30 am – 10:00 am
10:30 am – 12:00 pm
Monday 22nd 9:00 am - 2:00 pm27
Charlotte Waelde University of ExeterSarah Whatley Coventry UniversityShifting Boundaries, Shifting Aesthetics: Intersecting Dance, Disabilityand Law outes to/from Identity
Break
Routes to/from Identity
Nina Muehlemann King’s CollegeCrip Tease Unlimited: Disrupting Binaries through Disabled Burlesque Performance during the London 2012 Paralympics
Colette Conroy University of HullParalympic Cultures and the Regulation of Disabled Bodies
Crip Time
Petra Kuppers University of MichiganCrip Time: Sirens and Songs
Introduction
Kim Skjoldager-Nielsen Stockholm UniversityPerforming Nonknowledge
Silvia Battista Royal Holloway, University of LondonMapping a Territory: Technologies of the Numinous in Performance Art
Coffee break
Alessandra Zanobi Archive of Performance of Greek and Roman DramaArticulating the Inarticulate through Dance
Joshua Edelman The Royal Central School of Speech and Drama, Univer-sity of LondonMirror Neurons and the Performative Epistemology of Ritual
Daniel Reis Plá UFSM, Federal University of Santa MariaTranscendence Into the Flesh: Buddhism and Performing Arts
Coffee break
Cia Sautter Graduate Theological UnionReligion, Ethics, and Culture in The Christmas Prince: The Case of Philomela
12:00 pm – 12:30 pm
12:30 pm – 1:30 pm
1:30 pm – 2:00 pm
Performance and Religion
Room: P3.S1
9:00 am – 9:30 am
9:30 am – 10:30 am
10:30 am – 11:00 am
11:00 am – 12:30 pm
12:30 pm – 1:00 pm
1:00 pm – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm28
Alvin Eng Hui Lim National University of Singapore / King’s CollegeDeities as Actors, Routers and Networks: A Case Study on the Performance of the Nine Emperor Gods in Singapore
Group 1
4 presenters
Tea
Group 2
4 presenters
Welcome
On Legacy
Tim White University of WarwickThe E-Phemerality and Epidemiology of Performances in Public Spaces
John Lee University of WinchesterWhose Legacy is it anyway?
Discussion
Restroom break
On Legacy (continued)
Ian Watson Rutgers, The State University of New JerseyBarter and the Borderland: Different Spaces, Dialogues, Dynamics; Different Legacies
Joanna Ostrowska Adam Mickiewicz University in PoznańI’m Still Alive or Performing in Public as a Way of Dealing with Legacy
Discussion
Coffee break
Performance as Research
Room: Flamenco Room
9:30 am – 11:30 am
11:30 am – 11:45 am
11:45 am – 1:45 pm
Performance in Public Spaces
Room: S4.S5
8:30 am – 8:45 am
8:45 am – 9:45 am
9:45 am – 10:00 am
10:00 am – 11:00 am
11:00 am – 11:30 am
Monday 22nd 9:00 am - 2:00 pm29
Designing Public Spaces
Jadwiga Zimpel Adam Mickiewicz University in PoznaSpaces for Performance: From Festival Marketplaces to Urban Voids
Amira Joelson CUNYDesigning Gateways for Chinatown: Following Routes and Roots to Crossroads of Multiple Legacies
Discussion
Coffee break
Street Life
Susan Haedicke University of WarwickBreaking a Legacy of Hatred: Friches Théâtre Urbain’s Lieu Commun
Ha Young Hwang Korea National University of ArtsPerforming Ushutobe: The Visible and the Invisible of the Korean Diaspora
Discussion
General Discussion
Ahuva Belkin Tel Aviv UniversityItzik Manger’s Megillah Lieder: Meta-text as Subversive Affirmation
Suresh Kumar Chattothayil University of CalicutTheatre of Roots: The Politics of Performance
Madli Pesti University of TartuThe Possibility of Criteria: Methodological Problems in Researching Political Theatre
David Grant Queen’s University BelfastUnknown Knowns: Kinaesthetic Empathy in the Making and Understanding of Image Theatre
Berenice Hamidi Kim Universite Lyon 2Le Théâtre à l’Assaut du Capitalisme
Zahava Caspi Ben-Gurion UniversityMemory and History in Post-Apocalyptic Theatre
Rebecca Rovit University of KansasRe-rooting Berlin’s Cultural Landscape: Theatre and Politics, 1945-1949
Ilaria Pinna University of ExeterThe Fortress and the community: An analysis of Compagnia della Fortezza’s theatre
11:30 am – 12:30 pm
12:30 pm – 1:00 pm
1:00 pm – 2:00 pm
Political Performances
Room: S4.S6
9:00 am – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm30
Moderator: Victor EmeljanowMartina Lipton University of Warwick and University of QueenslandProduced by the 85th Field Ambulance in Salonika 1915-18
Dorothea Volz Johannes Gutenberg UniversityMuch Ado about a Silent Play: Max Reinhardt’s Pantomime under Ban
Moderator: Martina LiptonVictor Emeljanow University of Newcastle, New South WalesPalliative Pantomimes 2: Popular Entertainments, Humour and other Survival Strategies in Prisoner-of war camps during World War Two
Moderator: Janys HayesSusan Kattwinkel College of CharlestonA Theatrical Journey: Reconceiving Tourist Performance on a World Tour
Moderator: Susan KattwinkelJanys Hayes University of WollongongDrumming The Future: Vietnamese Drumming as a Bridge Between Tradition and Popular Entertainment
Moderator: Gillian ArrighiKim Baston LaTrobe UniversityTransatlantic Journeys: John Bill Ricketts and the Edinburgh Equestrian Circus
Moderator: Nic LeonhardtGillian Arrighi University of Newcastle, New South WalesRe-routing Traditional Circus Performance: Towards a Cultural History of Community Circus in Australia
Luk Van den Dries University of AntwerpThe Didascalic Imagination: Notes, Partitions et Transpositions Inter-médiales dans les Processus Créatifs “Post-dramatiques”
Fanny Le Borgne Université Paris 3-Sorbonne NouvelleWilliam Kentridge, Créer entre l’Atelier et le Plateau: Dès Workshops aux Répétitions
Rémi Ronfard INRIA, FranceVideo Recording and Genetic Analysis of Theatre Performances
Sophie Proust Lille 3, CEAC/APCConstitution d’une Grille d’Analyse des Répétitions (II)
Chloé Déchery Surrey University / Royal Central School of Speech and Drama, University of LondonL’Auto-Archive ou l’Impossible Retour? Réflexions sur A Duet Without You
Antonio-Simón Rodríguez Institut del Teatre de BarcelonaRoutes Envers la Découverte d’un Ordre Caché dans le Travail avec les Acteurs
Popular Entertainments
Room: P3.S2
9:00 am – 11:00 am
11:30 am – 1:30 pm
Processus de Création
Room: S4.S4
9:00 am – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm31
Introduction
HIV/AIDS and PerformanceChair: Alyson Campbell
Michael Anderson Northwestern UniversityMuscle Up: Hypermuscularity as a Performance of Seronegativity
Cormac O’Brien University College DublinPositively Irish: Reconciling the HIV-Positive Body and National Identity in Irish Theatre
Marios Chatziprokopiou Aberystwyth UniversityFrom the Mass Plague to Requiem for the End of Love: Voice, Lament, and AIDS Politics in the First Half of the Greek ‘90s
Cross-dressing PracticesChair: TBC
Mark Edward Edge Hill UniversityCouncil House Movie Star: Ageing Drag Queens on the Borders of Society
Stephen Farrier Royal Central School of Speech and Drama, University of LondonThat Lip-Syncing Feeling: Drag Performance as Digging the Past
Bryce Lease University of ExeterMiss Gay Western Cape: Queer Identities as Markers of Difference in Cape Town
Jonathan Lahey Dronsfield University of ReadingWandering the Archives of Wandering (Performing the Samuel Beckett Archive)
Thirthankar Chakraborty University of KentTranslating Silence: An Indian Adaptation of Samuel Beckett’s Come and Go
Katharina Knüppel LMU- Ludwig-Maximilians UniversityIntermedial Transpositions of Samuel Beckett’s Aesthetics in Contemporary Art and Dance
Susie Mower Loughborough University / Lincoln UniversityKrapp’s Last Tape: Presence in the Theatre and the Dynamic of Temporality
Michael Y. Bennett University of Wisconsin-WhitewaterPresenting Beckett to the 21st Century General Reader and Theatregoer
Michela Bariselli Independent scholarPure Laugh: Presence and Function of Humour in the Works of Samuel Beckett
Queer Futures
Room: P2.S6
9:30 am – 10:15 am
10:30 am – 12:00 pm
12:30 pm – 2:00 pm
Samuel Beckett
Room: Scanner
8:30 am – 11:00 am
11:30 am – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm32
José Francisco Fernández University of AlmeriaA Profoundly Spanish Talent: Beckett and Arrabal
Munetaka Kume Waseda UniversityIn Search of the Unachievable Image: Samuel Beckett’s Catastrophe
Welcome and Introductions
The Object Charm in Performance and Cinema
Irene Eynat-Confino Tel-Aviv UniversityRe-Routing Scenographic Components: Effect and Affect
Brandin Baron-Nusbaum UCSC, University of California Santa CruzEnchanted Wardrobes, Magic Mirrors and Other Ominous Objects in Paul Shrader’s American Gigolo
Dominika Łarionow University of ŁódźHow to Develop an Object in the Space of Scenography? What’s New Discovering Tadeusz Kantor?
Coffee Break
Inscribing Identities
Valerie Kaneko-Lucas Regent’s College, London School of Film, Media and PerformanceRe-routing/Re-rooting: The Scenography or Yukio Ninagawa
Tal Itzhaki Academy of Performing ArtsIssues of Identity and Context in Site Specific Works
Coffee Break
Invention, Aesthetics, and Scenographic Convention
Karolina Prykowska-Michalak University of ŁódźScenographic Conventions in Political Theater in Poland Today
Nebojša Tabački University of the Arts BerlinThe House of Dancing Water: Reinvention of the Theatre in the Global Corporate Society
Welcome
Scenography
Room: S4.S9
9:00 am – 9:30 am
9:30 am – 11:00 am
11:00 am – 11:30 am
11:30 am – 12:30 pm
12:30 pm – 1:00 pm
1:00 pm – 2:00 pm
Theatre Architecture
Room: Scenography Workshop
9:00 am – 9:30 am
Monday 22nd 9:00 am - 2:00 pm33
Contemporary Spaces, Openness, Preservationand Potential
Dorita Hannah NYU, Visiting Scholar & McHale Fellow, SUNY BuffaloHow Public is the Public?: A Question of Democratic Flow
Ryan Tacata Stanford UniversityPreserve/Perform/Repeat: OMA, Marina Abramovic, and Building Remains
Alejandra Serey-Weldt Escuela de Teatro, Universidad Católica de Chile y Consejo Nacional de la Cultura y las ArtesLa Pratique de Lieux: Une Exploration de l’Espace pour la Création Théâtrale Contemporaine
Coffee Break
Adaptations, relocations and re-imaginings of historical structures and platforms for performance
Evelyn Furquim Werneck Lima UNIRIO, Federal University of the State of Rio de JaneiroNew Paths to Theatre Architecture: A Brazilian Contemporary Performance at The Globe Theatre
Roger Owen Aberystwyth UniversityMapping Milk Churn Stands in Ceredigion
Coffee Break
Historical English and French Theatre Architecture
Devon Cox University of WarwickLe Goût Français: Influences of French Theatre Architecture on Theatre Royal Drury Lane and Others
Dominique Lauvernier École Pratique des Hautes Études, Paris EA HIS-TARAPaths for Performancers and Audience inside and outside French Court Theatres: A Re-examination of Sources by Virtual Restitutions
Luule Epner University of Tallinn / Estonian Literary MuseumPoetics of Acting as Playing
Jurgita Staniskyte Vytautas Magnus UniversityPlay with Reality: Performing Autobiographies in Post-Soviet Baltic Theatre
Maria Berlova State Institute of Art ScienceTheater of Gustav III
Vicki Ann Cremona University of MaltaPoetics and Post-revolutionary Theatre
9:30 am – 11:00 am:
11:00 am – 11:30 am
11:30 am – 12:30 pm
12:30 pm – 1:00 pm
1:00 pm – 2:00 pm
Theatrical Event
Room: S4.S3
9:00 am – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm34
Welcome
Jenny Wong University of GlasgowUnfaithful to Original, Faithful to Audience – With References to the Trans-lation of Religious Resonance in Two Traditional Operatic Versions of The Merchant of Venice on Chinese Stage
Kristina Trajanovska Cyril and Methodius UniversityTranslating Drama
Coffee Break
Jaqueline Bolton University of LincolnPractices of Reading: “Theoretical Method” and “Expressive Realism” as Dramaturgical Strategy
Katja Krebs University of BristolCreative Collusions or Constructive Chaos?: A Historical Perspective on Theatrical Exchange in Europe
Miglena Ivanova Flinders UniversityTheatre Workshop Sfumato: A Dramaturgy of Poetic Asceticism
Graça Corrêa University of AlgarveRe-Routing Gothic Emotionalism: Herculano’s Eurico from Novel to Performance
Stuart Young University of OtagoA Double Re-Routing: Complicité Stages The Master and Margarita
Translation, Adaptation & Dramaturgy
Room: S4.S8
9:00 am – 9:30 am
9:30 am – 11:00 am
11:00 am – 11:30 pm
11:30 am – 12:30 pm
12:30 pm – 2:00 pm
Monday 22nd 9:00 am - 2:00 pm35
Theatre, Performance and Architecture:Sites of Encounter and Exchange
This panel explores three sites of encounter and exchange between the fields of theatre, performance and architecture. Encompassing research on telematic performance’s potential to merge geographically discrete spaces and bodies, the performativity or architecture as pedagogical method and content, and the performative interruption of urban architecture, the papers in this panel ex-amine differing ways in which theatre, performance and architecture have, and continue to, redefine one another.
Chairs: Juliet Rufford and Andrew Filmer
Julian Maynard Royal Central School of Speech and Drama, University of LondonDissolve: A Space for Telematic Performance
Beth Weinstein University of ArizonaBringing Performativity into Architectural Pedagogy and Practice
Catherine Turner University of ExeterThe Convergence of City and Stage: Alexander Vesnin, Krzysztof Wodiczko and Theatrical Architectures
Imagining “Fukushima”: Theatrical Responsesto the Triple Disaster
Japan has a vibrant contemporary theatre scene extending from productions that mainly rely on Western plays to countless theatre troupes with their own repertory of Japanese plays. Some are known for their focus on social critique, others draw their plots from classical motifs. Besides, there exist an immeasur-able number of small theatres often referred to as a part of subculture. You will also find international and intercultural co-productions between Japanese, Western and recently Asian producers and performers. Our panel will examine recent developments of this dynamic theatre scene re-routing Japanese per-forming arts after the triple disaster hit Fukushimaon March 11, 2011.
Chair: Peter Eckersall
Shintaro Fujii Waseda UniversityCatastrophe and Theatre: Rethinking Performing Arts in Japan after 11 March, 2011
Barbara Geilhom Freie Universität BerlinNegotiating ”Fukushima“ in Recent Plays by Okada Toshiki and Nakatsuru Akihito
Tuesday 23rd
General Panel 1
10:30 am – 12:00 pm
GP.WGS-34: Theatre Architecture
Room: Teatre Estudi
GP.CUR-13: Imagining Fukushima
Room: P2.S4
Tuesday 23rd 10:30 am - 12:00 pm36
M Cody Poulton University of VictoriaAntigone in Japan: Life and Death in Fukushima
From La Drammatica to the Phonè: Tracing a Cultural Trajectory of Italian Acting Styles on the World’s Stage
The four presenters are part of an-going research project whose original input came from the recent publication of Prof. Anna Sica’s book The Murray Edwards Duse Collection. Based on 18th century Italian diva Eleonora Duse’s acting methodology, the international group of scholars is researching the elements of continuity and change in various European acting traditions up to today, focusing on the role of the actor-director. What is the legacy between classical end-of-the-century drama, and avant-garde theatre for the late twentieth century? What are the links, and common discussions that can be traced among Italian actors, and theatre directors/scholars/researchers of the likes Stanislavsky or Strasberg?
Chair: Raffaele Furno
Raffaele Furno Arcadia UniversityCarmelo Bene’s Phonè: Radical Renovation or Reinvented Tradition of an Italian Outcast Actor
Anna Sica University of PalermoItalian Method of La Drammatica: What Stanislavsky Saw Watching Italian Actors Act
Sergei Tcherkassi St. Petersburg Theater Arts AcademyItalian Genius Actors Who Had Inspired Theatre World (Giuseppe Grasso and Eleanora Duse through the eyes of Konstantin Stanislavsky, Vsevolod Meyerhold, Lee Strasberg and Isaac Babel)
Irene Scaturro University of Rome La SapienzaNaturalism’s Legacy in the Mid-Twentieth-Century Italian Actor
Chair: Jen Parker-Starbuck
Marcel·lí Antúnez Independent artistSistematurgy
Kristin Arnesen-Konopka CUNY, Brooklyn College / Hunter CollegeBEYER P-ORRIDGE: Breaking Sex and the New Cyborgean Cut-Up
Chair: Carolyn Roark
Kevin Landis University of Colorado Colorado SpringsRouting Religion in America’s Heartland
David Mason Rhodes CollegeMonastic Performance
Shinya Takahashi Chuo UniversityDialogue with the Dead in Japanese Theatre
GP.CUR-38: From La Drammatica to the Phonè
Room: P3.S1
GP-7: Cyborg and Second Life Theatre
Room: S4.S4
GP-13: Rooting for Religion in Performance
Room: P2.S5
Tuesday 23rd 10:30 am - 12:00 pm37
Tuesday 23rd 10:30 am - 12:00 pm
Chair: Nicolas Wood
Elaine Aston Lancaster UniversityRoom for Realism? International Re-Routings of New Writing at London’s Royal Court Theatre
Mark O’Thomas University of LincolnTraversing The Cut. From The Soldier’s Tale to Feast: Translation, Globalisation and the Routes to Nationhood in London’s Waterloo
Taryn Storey University of ReadingRisk, the Regions and New Writing: The Arts Council of Great Britain and State Patronage for the Theatre in the Age of Austerity
Chair: David Rodríguez Solás
Helena Buffery University College CorkRemapping Hispanic and Iberian Theatre and Performance Cultures in Contact
Inmaculada Lopez Silva Escola Superior de Arte Dramática de GaliciaTowards a Postdramatic Theater in Spain
Duncan Wheeler University of LeedsThe Role of Catalan Theatre in Spain’s Transition to Democracy
Chair: Ralph Remshardt
Mercè Saumell Institut del TeatreOld Craftsmanship on the Stage as Resistance
Ulf Otto University of HildesheimTheatre as Factory: On the Industrialization of Performativity in 19th Century Europe
Katharina Wessely University of BernePerforming Electricity: Knowledge Transfer between Theatre and Electrical Engineering
Chair: Christina Nygren
Bisi Adigun Trinity College DublinIn Praise of Cultural Misreading: Yvonne Brewster’s Jamaica pretation of Wole Soyinka’s Yoruba Tragedy
Anandhakrishnan Balakrishna Pillai University of HyderabadFootsbarn’s Indian Tempest: New Politics of Theatre Practice
Tamar Meskin University of KwaZulu-Natal(Re)Rooting the Canon: Patchworks, Pathways and Palimpsests
GP-25: New Writing in London
Room: P2.S6
GP-30: Spanish and Catalan Theatre
Room: Plató
GP-35: From Craft to Technology and Back
Room: Flamenco Room
GP-58: Cultural Re-Readings
Room: S4.S8
Chair: Ivy I-Chy Chang
Vik Bahl Green River Community CollegeInciting Desire in South Asian American Theater: Adaptation and Audience in Yoni Ki Baat and The Ramayana
Daphne Lei University of California, IrvineFluency and Fluidity: Accessing Global Wealth through Mistranslated Language in David Henry Hwang’s Chinglish
Pavlina Radia Nipissing UniversityRe-Routing the Global Litany of Bodily Goodness: The Good Body, or Eve Ensler’s Last Supper?
Chair: Francisco Albornoz
Coca Duarte Pontificia Universidad Católica de ChileStratégies de Rapprochement du Réel de la Mise en Scène Documentaire Chilienne Galvarino
Andrés Grumann Sölter Pontificia Universidad Católica de ChileStaging Strategies of a Masses Theater Tradition in the National Stadium: The “Clásicos Universitarios” and the Political Masses Celebration of the Chilean “Juventudes Comunistas”
Marcia Martínez Pontificia Universidad Católica de ValparaísoThe Scenic Representations and Dramaturgical Strategies of Isidora Aguirre and Guillermo Calderón
Chair: Marvin Carlson
Felicia Londré University of Missouri-Kansas CityCopeau’s American Detour on His Road to High Art
Neli Monés Mestre UAB, Universitat Autònoma de BarcelonaA Legacy of Spanish Dance between Spanish and Russian Tradition: Massine’s Notebook
Lurana Donnels O’Malley University of Hawaii at ManoaDu Bois, the Witch of Endor, and the Crisis of the George Washington Bicentenary
Stefan Aquilina University of MaltaStanislavski in Malta: An Amateur Processing of the System
Chair: Helen Gilbert
Rosa Figueiredo University of Lisbon / Polytechnic Institute of GuardaRe-Routing African Traditional Modes of Performance
Sabine Kim Johannes Gutenberg University(Re)Mixing History: Lillian Allen and the Routes of Dub
GP-67: Tranlating Into a Global Arena
Room: S4.S5
GP-73: Chilean Contemporary Theatre: Reflection on the Real and the Poetic (EN/FR)
Room: S4.S7
GP-79: Legacies of Early Twentieth Century
Room: Auditorium
GP-84: Re-Routing Pre-Colonial Identities
Room: P3.S2
Tuesday 23rd 10:30 am - 12:00 pm38 39
Chair: Josh Edelman
Bianca Maurmayr University of Nice Sophia AntipolisL’Importation de La Finta Pazza à Paris: Étude sur le Travail d’Adaptation et de Négotiation des Identités Vénitienne et Française
María Sebastià Sáez Universitat de ValènciaOrestíada. Cenizas de Troya (Oresteia. Troy’s Ashes): A Modern Refiguration of The Oresteia
Julia Pajunen University of HelsinkiDirector Kristian Smeds’ Tuntematon Sotilas (The Unknown Soldier) as a Theatre and Media Event
Masahiko Yokobori Tokyo University of the Arts / University of Music & Theatre LeipzigDramaturgy of Collective Directorships in Twenty-First-Century Japanese Theatre: A Case-Study of Sample
Chair: David George
Charlie Allwood Queen Mary, University of LondonGirls Just Want to Have Fun: Carol López’s Cosi FUN Tutte at the Liceu
Núria Llagüerri Pubill University of ValenciaRe-routing Grece to Barcelona: Els Missatgers no Arriben Mai (The Messengers Never Come)
Oriol Puig UAB, Universitat Autònoma de BarcelonaRicard Salvat: The Dream of the Future National Theatre of Catalonia
Chair: Peter Eckersall
Flavio Campos UNICAMP, State University of CampinasAn Enquiry into the Aesthetics of the Dancer-Researcher-Performer (BPI) Method
Paula Andrea Gonzalez Rodriguez University of São PauloGenetic Criticism and the Case of Teatro Imagen
Lidia Olinto do Valle Silva UNICAMP, State University of CampinasThe Binomial Precision-Spontaneity: A Mutable Relationship
Jordi Ribot Thunnissen Institut del Teatre / UAB, Universitat Autònoma de BarcelonaHans van Manen: Approaching His Poetics
New Scholars’ Forum 1
12:30 pm – 2:00 pm
NSF-9 Adaptation: Changing Texts, Changing Processes (EN/FR)
Room: Pató
NSF-10 Catalan Theatres
Room: Auditorium
NSF-12 Experimental Creative Processes
Room: P2.S5
Chair: Milija Gluhovic
Wei Feng Trinity College DublinSichuan Opera Macbeth: Adaptation as Reinvigoration
Carolin Fleischer LMU MunichGlobalization in the Epic, Dramatic, and Cinematic Œuvre of Terayama Shūji
Lonneke van Heugten ASCA, University of AmsterdamCurating “European Culture”: The EU as an Actor in the European Theatre World
Annika Wehrle Johannes Gutenberg UniversityDistance and Proximity in Rimini Protokoll’s Call Cutta: A Socio-Cultural and Theatrical Area of Tension
Chair: Daphne Lei
Jeremy Bidgood Royal Holloway, University of LondonWho Does the Interweaving? Finding the Weaver in the Work of Handspring Puppet Company.
Susan Fenty Western Australian Academy of Performing Arts (WAAPA), Edith Cowan University AustraliaA Stage Manager’s Journey into the Cultures of Time
Michelle Nicholson-Sanz Queen Mary, University of LondonWe Come from Afar to this Port City: Transnational Routes and the Limits of Hospitality in Buenos Aires
Evdoxia (Evi) Stamatiou Birkbeck, University of LondonTranslation on Stage: The Performance Disconnected
Chair: Graça Corrêa
Tanja Beer University of MelbourneEco-scenography: A New Paradigm for the Performing Arts
Lisa Marie Bowler LMU Munich-Ludwig-Maximilians-UniversityThe Body in the Building: Potentials of Actor-Centred Theatre Architecture
Russya Connor WAAPA Western Australia Academy of Performing Arts, Edith Cowan UniversityWorking Performative within Nature: Immersion and Suspension of Gravitational Demands
Lisa Woynarski Central School of Speech and Drama, University of Lon-donMediating Nature and the Urban in Performance
Chair: Stuart Young
Maria Enriquez Univers. CountryUSA Color-Blind Casting Politics: The Whitening of Mother****** With The Hat
NSF- 7: Globalization and Cosmopolitanism
Room: Flamenco Room
NSF-5 Intercultural and Transnational Theatres
Room: S4.S8
NSF-6: Living Bodies, Living Stages: Environment, Space and Design
Room: S4.S9
NSF- 3 Performance Politics: Identity, Rights, Freedom
Room: S4.S6
Tuesday 23rd 12:30 pm - 2:00 pmTuesday 23rd 12:30 pm - 2:00 pm40 41
Irene Fernandez Ramos School of Oriental and African Studies, University of LondonA Glance on Contemporary Palestinian Theatre: The Body and the Representation of Oppressed Identities
Azadeh Ganjeh University of BerneSpeak the Speech: The Play-within-a-Play and Freedom of Speech in Staging Hamlet in Iran
Susan McClements Wyss University of CologneSettling Shakespeare at Belvoir: A Comparison of Two Productions at Belvoir Street Theatre, Sydney Australia
Chair: Lisa Fitzpatrick
Ekua Rachel Ekumah Goldsmith’s College, University of LondonWriting the Self: African Diasporic Identity on the British Stage
Virginia Escobar Sardiña Universidad Complutense de MadridJosefina Báez: A Dramaturgy of Movement
Natália Perez University of Kent / Freie Universitat BerlinQuestions of Identity in the Work of Sor Juana Inés de la Cruz
Jessica Rizzo Yale University, Yale School of DramaAmerica Played Out: Fictive Dominance in Richard Maxwell’s Neutral Hero
Chair: Lesley Ferris
Sarah Grochala Queen Mary, University of LondonWebs of Meaning: Brechtian Plot Structures in Contemporary Playwriting
Sonia Jiménez Romero Universidad Complutense de MadridCiudadanía by Ulises Rodríguez Febles: A Realist Experimentation or an Experimental Realism
Keiko Kikuchi Waseda UniversityVie, Mort et Génération dans Actes Sans Paroles I et II de Beckett
Marta Tirado-Mauri UB, Universitat de BarcelonaEthics, Poetics and Subjectivity in the Work of Sarah Kane
Chair: Silvija Jestrovic
Lara Stevens University of MelbourneGestic Intertextuality in Elfriede Jelinek’s Bambiland
Kristin Flade Freie Universität BerlinThe Good Pain: Artistic Practice in Conflict Zones
Sahoko Tsuji Waseda UniversityHow On the Town Represents the Wartime Spirit as a Musical Comedy
NSF-1: Performing Identity
Room: S4.S4
NSF-13: Playwrights: Innovations, Experiments, Poetics (EN/FR)
Room: P2.S6
NSF-13: Playwrights: Innovations, Experiments, Poetics (EN/FR)
Room: P2.S6
Chair: Milena Grass
Eva Aymamí Reñé University of SurreyDancing for Democracy in Spain
Fabián Escalona San Martín Universidad de ChileAtahualpa’s Death: An Act of Performative Memory
Yuh.J, Hwang Trinity College Dublin)Counter-Memory, Riot and Performance
Francesca Spedalieri The Ohio State UniversityRe-Membering Storytelling: Teatro di Narrazione and the Solo Performances of Ascanio Celestini
Chair: Tony McCaffrey
Faustina Brew University of Exeter“Create to Learn”: An Exploration of Creative Abilities of Ghanaian Children through Drama Improvisation and Performances.
Hannah Neumann University of CologneCultural Development in Afghanistan
Adriana de Moura Somacal UFRGS, Federal University of Rio Grande do SulTheatre Practice with the Deaf: Signatores Group’s Research Experience
Chair: Deirdre Heddon
Caroline Herfert University of ViennaTheatrical Journeys: Encounters with the Orient around 1900
Juliana Coelho Université Paris 3 – Sorbonne Nouvelle / ARIAS / CNRSBrésil/France/Bali: Le Voyage en tant que Dessinateur d’une Nouvelle Cartographie
Michael Meeuwis Bilkent UniversityRe-Routing Victorian Drama: From Shipboard Performance to the Professional Stage in Nineteenth-Century Theater
Rob Sayer Bath Spa UniversityRe-routing Performance: Touring as Creative Force in Technical Artistry
The Historiography of Acting
This panel offers a sample of the kind of work undertaken by members of the Theatre Historiography Working Group. Historiography is concerned with
NSF-8: Remembering Perfor-mance, Remembering History
Room: Teatre Estudi Room
NSF-11: Theatre, Education and Development
Room: P2.S4
NSF-2: Theatrical Journeys (EN/FR)
Room: S4.S5
General Panel 2
3:30 pm – 5:00 pm
GP.WGS-30: Historiography
Room: Teatre Estudi
Tuesday 23rd 3:30 pm - 5:00 pmTuesday 23rd 12:30 pm - 2:00 pm42 43
the roots of performance, and the qualities of the actor’s work are much harder to trace than play scripts and buildings which leave secure material traces. The panellists will be investigating some of these difficulties.
Chair: Yael Zarhy-Levo
David Wiles Royal Holloway, University of LondonThe History of Classical Acting
Jim Davis Warwick UniversityThe Touring Actor 1880-1960: Cultural Exchange, Networking and Adaptation
Diego Pellechia Ritsumeikan University, KyotoDancing History: The Ethics of the Scholar-Practitioner in Japanese Noh Theatre
Ivo van Hove (I): Trajectories et Traversées
Ce premier panel sur Ivo van Hove réunit trois propositions de notre groupe de recherche sur ce metteur en scène belge. Les deux panels suivre les traces de la recherche sur van Hove jusqu’ici par notre group (symposium mono-graphique en Juin 2012 à Paris) et prévoit une série d’essais sur le théâtre du van Hove dans lequel nous travaillons actuellement.
Chair: Frédéric Maurin
Christine Hamon-Siréjols Université Paris 3-Sorbonne NouvelleRéorienter le Regard
Edwige Perrot Université Paris 3-Sorbonne Nouvelle / Université du Québec à MontréalLes Sens en Déroute. Impacts de la Vidéo en Direct dans la Fabrication de la Perception
Romain Piana Université Paris 3-Sorbonne NouvelleIvo van Hove au Détour de la Comédie
Pageants of Great Women: Past and Present
This panel explores the development, transmission and archiving of produc-tions related to Edith Craig’s production of Cicely Hamilton’s A Pageant of Great Women (first produced 1909 in London). Craig’s development as a cos-tumier and director of pageants, masques and historical plays will be considered in relation to the development of this work.In an innovative use of the pageants strategy. Christopher St John TheFirst Actress (1911), also directed by Craig, places the actress at the heart of the suffrage agenda, combining embodied per-formance with political action. Virginia Woolf centres her last novel, Between the Acts (1941) on a pageant directed by a woman apparently modelled on Edith Craig. This ongoing circulation of the pageant, women and performance lead us to the recent revival of A Pageant of Great Women in 2011 by Anna Birch for Fragments & Monument (Hull, England). This performance confronts and embraces feminist history as an act of engendering a living archive.
Chair: Fiona Graham
GP.CUR-19: Ivo van Hove (I)
Room: S4.S9
GP.CUR-17: A Pageant of Great Women
Room: S4.S8
Lesley Ferris Ohio State UniversityThen the Curtain Rose: Performance and Gender in the Age of the Feminist Pageant
Katharine M. Cockin University of HullEdith Craig and A Pageant of Great Women: Roots and Redirections
Anna Birch Royal Conservatoire of ScotlandA Pageant of Great Women: Past and Present
Presence, Spectacle and Modernity
The Research Centre for Visual Poetics (University of Antwerp, Belgium) sets up two panels with the intention to reconsider “presence,” as one of the foun-dational concepts for performance studies and practice, by examining it from different angles. While in the wake of poststructuralism the notion of “pres-ence” has been radically deconstructed as being as metaphysical fallacy leading to misguided assumptions about human culture, in recent years several cultural theorists have been attempting to revalue “presence” as an antidote for the predominant tendency within humanities to privilege meaning and interpre-tation at the expense of experience. The Visual Poetics panels will explore the premises of this dichotomy and search for alternative methodologies that might provide an answer to the question how both academic theory and artistic practice are able to negotiate “presence” within their activities.
Chair: Frederik Le Roy
Esther Tuypens University of AntwerpMoving Bodies: Presence and Affect in Aby Warburg’s Mnemosyne Atlas
Kurt Vanhoutte University of AntwerpToward the Stars: Re-Routing Presence and Experience in the Spectacle of Modernity
Nele Wynants University of AntwerpGhostly Pathways: Spectral Presence in Phantasmagoria Shows
Chair: David George
Heinrich R. Falk California State UniversityTheatre to the People: Two Initiatives during Spain’s Second Republic
Junko Okamoto Osaka UniversityLegacies of the Preceding Spanish Playwrights in the Works of Antonio Buero Vallejo
David Rodríguez Solás Middlebury CollegeGarcía Lorca in the Crossroads: La Barraca and Democratization in 1930s Spain
Chair: Deirdre Heddon
Julia Boll Marie Curie Fellow, University of KonstanzBetween Homeland and Exile: Witnessing the Homo Sacer at the Heart of Hotel Medea
GP.CUR-21: Visuals Poetics 1
Room: P2.S5
GP-9: Spanish Theatre Befora and After the Civil War Room: Plató
GP-16: Re-Walking the Walk
Room: P2.S4
Tuesday 23rd 3:30 pm - 5:00 pmTuesday 23rd 3:30 pm - 5:00 pm44 45
Lib Taylor University of ReadingThe Transnational and the Particular: Experiences of Walking
Piotr Woycicki IndependentPedipulating “Footage” in Duncan Speakman’s As if it Were the Last Time
Chair: Katherine Mezur
Ella Finer Roehampton UniversityEchoes After Echo
Susanne Foellmer Freie Universität BerlinTracing Back and Forth: Citation as Paradoxical Vanguard Practice of Remembrance in Dance
Katja Schneider LMU- Ludwig-Maximilians UniversityQuotation Marks: Thoughts on Performativity of Reference in Contemporary Dance
Chair: Honor Ford-Smith
Milena Grass Pontificia Universidad Católica de ChileAndrés Kalawski Pontificia Universidad Católica de ChilePontificia Universidad Católica de ChileReconstructive Theatre: A Theatrical Earthquake Experience
Róisín O’Gorman University College CorkAbdicating Presence: Considering the Next Stage of Performance in the Work of Dorothy Cross
Ina Pukelyte Vytautas Magnus UniversityEcological Theatre: Performing Nature
Chair: Susan Bennett
Ivy I-chu Chang National Chiao Tung UniversityRerouting King Lear in a Jingju Actor’s Reminiscence
Peter W. Marx University of CologneHamlet’s Odyssey
Paris Shun-Hsiang Shih National Chengchi UniversityFeminizing The Merchant of Venice: Turning Male Homosociality into Female Narcissism in Bond (Yue / Shu), the Taiwanese Bangzi Opera Adaptation of The Merchant of Venice
Chair: James Harding
Charlotte Canning University of Texas at AustinClowns and Balloon Animals: On the Road with the US Department of State in Southeast Asia 1961
David Drozd Masaryk University(Re)Turning to the Roots: Journey of Jiří Veltruský and his Theory
GP-36: Re…Re…Referential Reverberations Room: P3.S1
GP-40: Nature and Human Intervention Room: S4.S4
GP-41: Re-Routing Shakesperian Characters Room: Auditorium
GP-54: Cold War Room: P3. S2
Berenika Szymanski-Düll LMU- Ludwig-Maximilians University Munich“A tour to the West could bring a lot of trouble…” – Mazowsze during the Cold War
Chair: Maaike Bleeker
Mnena Abuku Benue State UniversityPerforming Fashion in Trans-nations: Tradition, Modernity and Environment
Sean Metzger UCLA, University of California Los AngelesFashion-able Desires in the Plays of David Henry Hwang
Kara Reilly University of ExeterOperating Theatres: Re-rooting Perceptions of the Body
Chair: John Bull
Stuart Andrews University of SurreySurge, Sway and Yaw: Performative Moorings in The Boat Project and A Room for London
Robert Shaughnessy University of KentIn Time with Shakespeare
Millie Taylor University of WinchesterReviewing the Situationv: Exploring the Roots/Routes of British Musical Theatre Through the Work of Lionel Bart
Rerouting Samuel Beckett’s Drama in the Twenty-First Century
The panel papers focus on issues concerning performing Beckett’s drama now and in the future, considering new experimentation in theatre practice and challenges to existing traditions. These papers are usefully representative of the Samuel Beckett Working Group research and recent trajectory whilst also addressing the conference theme clearly from the perspective of the Working Group.
Chair: Juliet Rufford and Andrew Filmer
Eric Prince Colorado State UniversityAll your Dead Dead: Re-Visioning Eh Joe
Brenda O’Connell National University of Ireland, Maynooth“‘…dreadfully un-…’ staged bodies”: Beckettian Echoes in Irish Performance Practice and International Experimental Theatre
GP-62: Constructing the Female Body Room: Flamenco Room
GP-69: London Stages Room: S4.S7
General Panel 3
5:30 pm – 7:00 pm
GP.WGS-11 : Samuel Becket
Room: Teatre Estudi
Tuesday 23rd 5:30 pm - 7:00 pmTuesday 23rd 3:30 pm - 5:00 pm46 47
Everett Frost Independent scholarPossibilities and Problematics in Staging Beckett’s Radio Plays
Presence, Re-enactment and Recurrence
The Research Centre for Visual Poetics (University of Antwerp, Belgium) sets up two panels with the intention to reconsider “presence,” as one of the foun-dational concepts for performance studies and practice, by examining it from different angles. While in the wake of poststructuralism the notion of “pres-ence” has been radically deconstructed as being as metaphysical fallacy leading to misguided assumptions about human culture, in recent years several cultural theorists have been attempting to revalue “presence” as an antidote for the predominant tendency within humanities to privilege meaning and interpre-tation at the expense of experience. The Visual Poetics panels will explore the premises of this dichotomy and search for alternative methodologies that might provide an answer to the question how both academic theory and artistic practice are able to negotiate “presence” within their activities.
Chair: Kurt Vanhoutte
Timmy De Laet University of AntwerpFrom Effects of Presence to the Effective Present: Negotiating Meaning and Presence in Artistic Re-enactment
Edith Cassiers University of Antwerp / University of Brussels(Re)presenting Theatrical Notebooks: Re-routing Presence within the 2012 Re-enactments of This is Theatre as it Was to Be Expected and Foreseen (1982) and The Power of Theatrical Madness (1984)
Frederik Le Roy University of AntwerpRe-Routing the Paris Commune: Performative Anachronism in the Work of Peter Watkins
Transnational Affects? Audience, Emotion and Politics at the Globe to Globe Festival 2012
This curated panel responds to the theme of the Conference in a threefold way: firstly, our purpose is to consider the award-winning Globe to Globe Festival held at London’s reconstructed Shakespearean venue as a cross-cultural collaboration between theatre-makers and audiences alike; secondly, we propose to reflect on these encounters specifically in relation to the affects and feelings they enabled and produced, re-routing the debate on intercultural theatre through the emerg-ing frameworks of Affect Studies and the field of history of Emotions. Finally, we consider the politics of affect. A keystone of theatre is produced within a politi-cal index that requires critical reflection. This is particularly the case when the event is framed in the loaded agendas of “interculturalism” and “festival”. This interrelated focus on audience, affect and politics offers a new and urgent way in to the critical evaluation of intercultural exchange in the theatre.
Chair: Kim Solga
Margherita Laera University of KentWe <3 Shakespeare: Globe to Globe Festival and the Production of “Excitement”
Penelope Woods University of Western AustraliaGlobe to Globe and its Audiences, London 2012
GP.CUR-22: Visual Poetics 2
Room: P2.S5
GP.CUR-24: Transnational Affects?
Room: Plató
Colette Gordon University of the WitwatersrandeMaking up Africa: Models of Cultural Productions and Reception at the Globe to Globe Festival
Chair: Dennis Elkins
Cock Dieleman University of AmsterdamEducation as Part of the Theatrical Event
Tristan Damian Jäggi University of BerneFuture Labs. Theatre-related Activities in Swiss Upper Secondary Schools
Roger Wooster Independent scholarThe Lost Art of Theatre in Education: Can TIE Survive Utilitarian Approaches to Education?
Chair: Zahava Caspi
Chioko Matsuda Hitotsubashi UniversityRe-thinking British Cultural Policy Today: The Boycott on HaBima’s The Merchant of Venice
Edna Nahson Jewish Theological SeminaryRestraining Shylock
Avraham Oz University of Haifa / Academy of Performing ArtsImagined Communities and Inverted Heteropias: The Hebrew Theatre and Subversions of Locus
Chair: Rosella Ferrari
Lin Chen Freie Universität BerlinThe Dramatic Touch of Imagined Ownness: An Alternative Explanation of Chinese Theater’s Early Interweaving with the Western
Laia Manonelles Moner Universitat de Barcelona / Universitat Autònoma de BarcelonaA Review of the Genealogy in Experimental Art in China
Mirjam Tröster Johann Wolfgang Goethe UniversityTouring Theatrical Productions of Taiwan and Hong Kong in Mainland China: Re-routing National Imaginings
Chair: Eddie Paterson
Laura Michiels Free University of Brussels / Research Foundation FlandersTransmuting Performance: Metatheatre Meets Esotericism in Tennessee Williams’s The Two-Character Play
Olga Muratova Fordham UniversityChekhovek: From a Monological Narrative to a Polyphonic Performance
Kurt Taroff Queen’s University BelfastThe Birth of Monodrama Out of the Spirit of Music: An International and Generic Journey
GP-5: Theatre and Secondary Education Room: P2.S4
GP-8: Performing Jewishness
Room: S4.S4
GP-22: Issues in Comtemporary Chinese Theatre Room: S4.S9
GP-24: Self-Reflective Voices Inner Roots
Room: P2.S6
Tuesday 23rd 5:30 pm - 7:00 pmTuesday 23rd 5:30 pm - 7:00 pm 4948
Chair: Joana Soares
Cláudia Oliveira University of Lisbon, Centre for Theatre StudiesTo Act and to Write: Questioning the Written Memories of Portuguese Actors Born in the Nineteenth Century
Marta Rosa University of Lisbon, Centre for Theatre StudiesFrom Historical Legacies to Theatrical Themes: The Shipwreck of Sepulveda
Maria Helena Werneck UNIRIO, Federal University of the State of Rio de JaneiroThe Transatlantic Theatre: Travelling Troupes from Portugal to Brazil
Chair: Yvonne Schmidt
Chris Collins Trinity College DublinFollow: Re-routing Irish Theatre Through the Phenomenology of Memory
Tony McCaffrey University of CanterburyWhere is Disability Disabled?: Aesthetic, Ethical and Political Implications of Involving People with Intellectual Disabilities in Contemporary Performance
Mark Swetz Humboldt State UniversityThe Intersections of Access: Blind Spectatorship and Routes to Opening Performance
Chair: Katherine Sieg
Carolina E. Santo Unversity of ViennaPerforming Resistance Against Development-forced Displacement
Freddie Rokem Tel Aviv UniversityDramaturgies of Exile: Bertolt Brecht, Walter Benjamin and Gershon Scholem
Christel Stalpaert Ghent UniversityPerforming the Emigratory Experience: Encountering Relational Identities
Chair: Emer O’Toole
Cristina Delgado-Garcia Aberystwyth UniversityConceptual Art, Theatre, and “The Return of the Repressed”: Rethinking Tim Crouch’s Dramaturgy and its Politics
Duška Radosavljević University of KentTheatre-Making: Bridging the Gap Between Text-Based and Devised Theatre in the English-Speaking World
Clare Wallace Charles UniversityThe Precarious Politics of Perception: Re-orientations in British and Irish Theatre
GP-31: Lusophone Musings
Room: P3.S1
GP-33: Re-Thinking Access and Integration
Room Auditorium
GP-45: Theatres of the Exile Room: S4.S7
GP-64: Engaging Spectator’s Complicity
Room: Flamenco Room
Affective and Disputed Territories: Choreographies and Corporealities
This panel explores passages of affect (McGrath), sexualities and time (De-Frantz), and disputed territories (Larasati) to consider the place of embodied practice within the recognition of performance and humanity. The panel con-siders three discrete sites of dance, in a session that exemplifies the continuing collaborations of the Choreography and Corporeality Working Group.
Chair: Philipa Rothfield
Aoife McGrath Queen’s University BelfastDiscomforting Touch: Dance, Affect and Vulnerability
Rachmi Diyah Larasati University of MinnesotaThe Aesthetic and Aceh’s Female Combatant: Re-routing Subaltern Corpo/reality
Thomas F. DeFrantz Duke Universityafrofuturist remains: a speculative rendering of black social dance futures
Routes through the corpus: dramaturgy, corporality and materiality in the process of performance as research
Chair: Anna Birch
Mark Fleishman University of Cape Town“Routes of Inheritance” in Performance as Research
Pauliina Hulkko Theatre Academy, University of the Arts HelsinkiVagrant Materials: Migratory Dramaturgies
Emma Meehan Coventry UniversityMoving Scenographies: Somatics and Space
Arts Council Influence on the Ecologies of British Theatre Companies in the ‘70s, ‘80s and ‘90s
We will examine how the policies and directives of the Arts Council of Great Britain (ACGB-later the Arts Councils of England, Scotland and Wales) have impacted on a particular aspect of the British theatre ecology across three sub-sequent decades. The panel as a whole is examining how such policies can influence the ecology of theatre practice, in sometimes unexpected ways which may even seem counterproductive to the original stated aims of the policy.
Wednesday 24th
General Panel 4
10:30 am – 12:00 pm
GP.WGS-32: Choreograpy and Corporeality
Room: Teatre Estudi
GP.WGS-36: Performance as Research
Room: Plató
GP.CUR-16: Practice Rooted in Policy
Room: Auditorium
Wednesday 24th 10:30 am - 12:00 pmTuesday 23rd 5:30 pm - 7:00 pm 5150
Chair: Kaza Reilly
John Bull University of Reading / University of LincolnMonstrous Regiments and Spare Tyres: Issues of Constituency and Funding in UK Feminist Theatre of the 1970s
Graham Saunders University of ReadingFlagships & Rowing Boats: The (Un) Resistible Rise of Tara Arts & Talawa 1980-1987
Liz Tomlin University of BirminghamArts Council Policy and Unintended Consequences: One Possible Route to the Growth of Interactive Performance in the UK
Chair: John Coestler
Yvette Hutchison University of WarwickCape New Year Carnival: Mapping Disavowed Memory in the Past and Present
Gay Morris University of Cape TownRemembering Home, or Carrying your House on your Head: Rural Traces in Urban Township Performances
Miranda Young-Jahangeer University of KwaZulu-NatalThe Thin Pink Line: Performing Art in the City of Cape Town
Chair: Irene Scaturro
Shannon Fillion Theater DirectorDanny Mitarotondo PlaywrightThe Score: The Process and Production of a New Kind of Playwriting
Liesbeth Groot Nibbelink Utrecht UniversityYou are Here: Capturing Mobility in Contemporary Performance
Chair: Margherita Laera
Margaret Coldiron University of EssexDramatari Jokasta: Greek Tragedy Reconfigured as a Transnational, Transcultural Kreasi Baru
Natasa Glisic University of Banja LukaElectra’s Travels in the Balkans: Danilo Kiš’s Electra from 1968 and its Afterlives
Orestes Pérez Estanquero UAB, Universitat Autònoma de Barcelona / Instituto Superior Arte, CubaOrestes [Ὀρέστης]: Migrations and Transformations in Performance
Chair: Paul Monaghan
Antonis Glytzouris University of Thessaloniki / Institute of Mediterranean Studies, CreteFrom Venice to Constantinople: Travelling Widows in the Context of Greek Enlightenment
GP-10. Performing Cape Town
Room: P3.S2
GP-18: Re-Notation
Room: P3.S1
GP-28: Jocasta, Electra and Orestes Out of Place
Room: S4.S6
GP-43: Greek Legacy
Room: S4.S7
Masahiro Kitano Gunma Prefectural Women’s UniversityThe Fabrication of the Essence in the Roots: First Japanese Performances of Greek Tragedy
Helen Richardson CUNY, Brooklyn CollegeRe-routing Performance: Ancient Mediterranean Cultures and their Influence on Classical Greek Drama
Chair: Milena Grass
Michael Bachmann Johannes Gutenberg UniversityRouting/Rooting Memory: Hans Jürgen Syberberg and the Virtual Sites of Prussia
Lisa Fitzgerald National University of Ireland, GalwayRe-Place: Ireland, Performance and Re-rooting the Culture Heritage of the West
Brian Singleton Trinity College DublinThe Routes to Memory: Anu Productions’ Performative Journey through Social History
Chair: Denise Varney
Julian James Meyrick Flinders UniversityThe Logic of Culture: Australian Theatre and the Empty Signifier
Renee Newman-Storen Edith Cowan University, WAAPA Academy of Performing ArtsA Re-Routing of Public Space: Notes on the Development and Orchestration of a New Australian Performance Work
Patricia Smyth University of WarwickThere and Back Again: Australian Landscape on the Nineteenth- and Early Twentieth-Century Stage
Chair: M Cody Poulton
Hye-Gyong Kwon Dongseo UniversityRerouting Performances: The Theme of the Joseon Tongsinsa in Koeran and Japanese Festivals
Harue Tsutsumi Seijo UniversityThe Production of Hyōryū kitan Seiyō kabuki (The Wanderer’s Strange Story: a Western Kabuki) (1879) and the Journey of Iwakura Embassy (1871-1873)
Shu-Mei Wei Chien Hsin University of Science and TechnologyA Serial Killer Remediated: A Case Study of Zodiac
Chair: Julius Heinicke
Dr Ananda Breed University of East LondonPerforming Legacies of Justice
Helen Gilbert Royal Holloway, University of LondonWalking Together: Indigenous Performance and Routes towards Reconciliation
GP-50: Performing Collective Memory
Room: Flamenco Room
GP-59: A View of Australian Theatre
Room: S4.S9
GP-68: East Asian Encounters with the Popular
Room: S4.S4
GP-72: Routes for the Performance of Justice and Reconciliation
Room: P2.S6
Wednesday 24th 10:30 am - 12:00 pmWednesday 24th 10:30 pam - 12:00 pm 5352
Judith Rudakoff York UniversityRoots/Routes: Journeys to Home in South Africa, Cuba, and Canada’s Far North
Chair: Willmar Sauter
Johan Callens Free University of Brussels(Mythic) Events Proceed in Different Localities (Historical Ones, Too): Re-Routing the Trojan War
Helmar Schramm Freie Universität Berlin“As Slow as Possible” (John Cage) Time and History in Theatrical Experiments
Carol Marie Webster University of Leeds / Oxford UniversityPerforming Transportation Transformation: Migration, Teleportation, and Railways
Chair: Steve Wilmer
Boris Daussà-Pastor Institut del TeatreNegotiating Tradition and National Identity: Kathakali en Route to Indian Nation Building
Elyssa Livergant Queen Mary and Birkbeck, University of LondonMoving to Work: Border Crossing and the Belarus Free Theatre
Martynas Petrikas Vytautas Magnus UniversityBittersweet Roots of Engaged Theatre: Between Similarities and Differences of Theatre Concepts in Lithuania and Poland
Chair: Colette Conroy
Andrew Brown Northwestern UniversityQueerying Refuge: Sex and Gender on the Move in Refugee Performance
Lynne McCarthy Queen Mary, University of LondonSoil Depositions: Performing Property Values
Paulina Sarkis Pontificia Universidad Católica de ChilePrison Theatricality: Convivial Theatre
Sarah Youssef University of CologneThe Art of Imprisonment: The Performance of Masculinity in Captivity
GP-81: Experimental Projects
Room: P2.S5
GP-86: Re-Routing Nationa-lism
Room: P2.S4
New Scholars’ Forum 2
12:30 pm – 2:00 pm
NSF-19: Applying Theatre: Testimony, Identity, Politics, Efficacy
Room: S4.S9
Chair: Bernardette Cochrane
Maude B Lafrance Université du Québec à MontréalDramaturgie Sans Nom: La Dimension Sonore dans le Théâtre Contemporain
Fanne Boland University of AmsterdamWhat does the Dramaturge Contribute to Contemporary Theatre-Making Processes? ‘”Let’s Take a Walk,” a Practice-Based Research
Ann-Christine Simke University of GlasgowDramaturgy on the Move: Historicity, Applicability, Reciprocity
Naz Yeni Anglia Ruskin UniversityStory-Telling in Style: The Multiple Languages of Theatre and Meaning-Making
Chair: Maggi Phillips
Debanjali Biswas Independent researcherBuilding Bridges: Dancing for the “Other” World in two Shaman Traditions of Asia
Caitlin Coker Ritsumeikan UniversityButoh’s Roots in Daily Life: Three Generations of “Human Revolution”
Serge Dambrine Universite d’Evry / UAB, Universitat Autònoma de Barce-lonaAlain Platel, de Because I Sing (2001) à C(H)ŒURS (2012): Une approche du chœur
Lotta Harryson Stockholm UniversityChanges in the Meaning of Dance in Musical Comedy at a Swedish Theatre, 1920-1969
Chair: Graham Saunders
Matthew McFrederick University of ReadingDouble-Acts in Waiting for Godot: Music Hall and Movie Stars on the London Stage
Helen Murphy Central School of Speech and Drama, University of LondonThe Fleeting Exchange: Tracing Ephemera’s Journey through Modernity
Riina Oruaas University of TartuContextualizing Theories of Postmodernism
Mrityunjay Kumar Prabhakar Jawaharlal Nehru UniversityA Movement Called “Theatre of Roots”: The Churning of Tradition to Modernity
Tomoko Seki Waseda UniversityWhere is the Character? The Function of the “Speakers” in Martin Crimp’s Attempts on Her Life
NSF-18: Contemporary Dramaturgy (EN/FR)
Room: S4.S8
NSF-26: Cultures of Dance (EN/FR)
Room: P2.S6
NSF-22: Dynamic Tradition: Creating Modernity and Postmodernity
Room: Plató
Wednesday 24th 12:30 pm - 2:00 pmWednesday 24th 12:30 pm - 2:00 pm 5554
Chair: Julian Meyrick
Daria Kubiak University of ŁódźRerouting Audience Development: From Marketing to Emancipation
Fabian Lempa Freie Universität BerlinBeyond the Promises of Salvation: Corporate Theatre as Area of Ethical, Political and Aesthetical Negotiations
Izuchukwu (Izuu) Ernest Nwankwo University GombePerformance of Humour at Less Expense: Stand-up Comedy As Nigeria’s New Theatre
Sarah Thomasson Queen Mary, University of LondonEntrepreneurialism or the “Right to Fail”?: New Directions at the Edinburgh Fringe
Chair: Janelle Reinelt
Mercè Ballespí Institut del Teatre / UAB, Universitat Autònoma de Barce-lonaFemale Characters on the Catalan Stage: Marta Carrasco, Sol Picó and Angélica Liddell
Arnab Banerji University of Georgia“Munni Badnam Hui”: The Consumable Female Body in Bollywood Item Numbers
Sandra D’Urso University of MelbourneRe-routing the Citizen: Feminist, Parrhésiastic Performance in the Era of anti-Terror Laws
Caitriona Mary Reilly Queen’s University BelfastPerforming Prostitution and the Postfeminist Problem in Contemporary Ireland: The Boys of Foley Street and Taking Back Our Voices
Rashida Resario University of GhanaAgainst the Odds of a Chauvinistic Custom: Efo Kodjo Mawugbe’s In the Chest of a Woman
Chair: Gillian Arrighi
Krysta Dennis University of Kent / Université Paris 3, Sorbonne NouvelleBringing Out the Animal: The Cat in Martin McDonagh’s The Lieutenant of Inishmore
Charlott Neuhauser University of StockholmInstitutional Activism? The Performance, Dying Animals and the Touring National Theatre (Riksteatern) in Sweden
Ilya Noé University of California, DavisSite-Particularity, Sporads and Mycorrhizal Relationships: Outwith the Nomad/Rhizome-Settler/Tree Divide
NSF-17: Economic Theatres
Room: S4.S7
NSF-21: Feminist and Post-Feminist Theatres
Room: Teatre Estudi
NSF-16: Humans and Non-humans
Room: S4.S6
Chair: Katie Gough
Karina Almeida UNICAMP, State University of CampinasThe Intersection Between the Composition of Dance and Creative Practices from Other Arts
Anders Bäckström University of StockholmThe Street as Venue. Relationality and Spatiality in Urban Theatrical Context
María Fernández Vázquez Universidad Complutense de MadridInstalling Theatre in Visual Art
Rasheed Ismaila University of LagosRe-Routing African Festivals through Drama: A Case Study from the Department of Creative Arts, University of Lagos, Lagos, Nigeria
Chloé Lavalette Université Paris 3-Sorbonne NouvelleEntre la Vie et l’Art: Les Personnages d’Artistes dans les Mises en Scène de Scénarios d’Ivo van Hove
Chair: Mechele Leon
Andrew Bielski Cornell UniversityActes Manquants: Theatre and the Psychoanalytic Act
Maria Codinachs Institut del TeatreMasques de Théâtre en Catalogne à la Seconde Moitié du Siècle: Confluences entre Création et Formation
Arianna Fernández Grossocordón Universidad Carlos IIIFormes Scéniques du Théâtre Gestuelle du XXème Siècle: Proposition d’Analyse et Construction d’un Répertoire
Joy Kristin Kalu Freie Universität BerlinStagings of Therapy in Psychological and Artistic Practice
Chair: John Bull
Catriona Fallow Queen Mary, University of LondonWriting, Rewriting and New Writing in British Theatre
Phoebe Ferris-Rotman Birkbeck, University of LondonFrom the Multitude to the Singular: Two Forms of Contemporary Immersive Theatre
Hannah McClure University of East LondonThe Whirling Dervishes of West London: Hybridity and Agency in Practice and Transmission
Aileen Robinson Northwestern UniversityPopularizing Science, Producing Theatre: The Performative Galleries of the Royal Polytechnic Institution
NSF-20: Intersections: Form, Space, Time, Reality (EN/FR)
Room: Flamenco Room
NSF-25: Le Corp et L’Esprit: Les Acteurs et Les Artistes Reconsidéré (EN/FR)
Room: P2.S5
NSF-23 :Performing London: Histories and Trends
Room: Auditorium
Wednesday 24th 12:30 pm - 2:00 pmWednesday 24th 12:30 pm - 2:00 pm 5756
Chair: Rosemary Klitch
Greta Klimaviciute-Minkstimiene Vytautas Magnus UniversityThree Levels of Connection Between Actor and Spectator: An Anthropological Perspective
Emmanuelle Sirois Université du Québec à MontréalThe Uses of Collaborative Softwares and Social Medias Within and Around Performances: Rethinking Spectatorship and Communities
Christine Hannah Twite Queen Mary, University of LondonThe Paradox of Theatre Spectatorship: Examining the Audience in Actors Touring Company’s productions of Crave and Illusions
Itziar Zorita Agirre UAB, Universitat Autònoma de BarcelonaDramaturgy of the Spectator and Intermediality
Chair: Joanne Tompkins
Sanjin Muftic University of Cape TownProcess and Purpose for Sampling Live Performance: Technology, Space and Image
Shreyosi Mukherjee National University of SingaporeReconfiguring Temporality, Resorting to Liminality: New Media Archiving and Archived Art Forms
Christina Papagiannouli University of East LondonA Short Organum for Cyberformance: The Internet as an Apparatus of Communication
Judit Pujol Llop Institut del Teatre / Theatre company Obskene)Anna Carreras Etc InventionsPresenciality / Virtuality: Relations Between the Theatre and the Digital World in Dea Loher’s Land Without Words
Chair: David Wiles
Licínia Ferreira University of Lisbon, Centre for Theatre StudiesThe History of a Theatre: Teatro da Rua dos Condes, Lisbon
Sascha Förster University of CologneProjections of History: Zeitgeist and the Scenes of Imagination
Mariana Hausdorf Andrade Pontificia Universidad Católica de ChileBetween History and Theatre: Performing the Archive of the Chilean Dictatorship
Javiera Larrain George Pontificia Universidad Católica de ChileThe Emergence of the Theatre Director in Chile: Towards a Contextualization of University Theatres in the 1940s
NSF-15: Spectatorship
Room: S4.S5
NSF-14: Technology, New Media, Virtuality
Room: S4.S4
NSF-24: Theatre Histories
Room: P2.S4
Memory, Manifestations, and Imagined Futures
The panel attempts to look at that which informs the theatre and performance in Africa, in the Caribbean and in their respective Diasporas. Being cognizant of the fact that there are others who have gone before, we are eager to explore memory-in both the literal and imagined/metaphorical sense- in the construc-tion of ritual, performance and or autonomous theatrical experience in African andCaribbeaninfluence environments.
Chair: Kene Igweonu
Kimberly Ramirez CUNY, LaGuardia Comunity CollegeRe-Visions of Afro-Cuban Santeria: from Sacred Sacrifice to Digital Deities
C.M. Harclyde Walcott University of the West Indies, Cave HillMemory, Lived Experience: The Manifestation/Articulation of a Caribbean Performance Aesthetic
Keithley Woolward College of The BahamasMemory, Theater and National Consciousness: The Case of Edouard Glissant
Carrefours et Horizons
Ce second panel sur Ivo van Hove réunit trois propositions de notre groupe de recherche sur ce metteur en scène belge. Les deux panels suivre les traces de la recherche sur van Hove jusqu’ici par notre group (symposium monographique en Juin 2012 à Paris) et prévoit une série d’essais sur le théâtre du van Hove dans lequel nous travaillons actuellement.
Chair: Josette Féral
Frédéric Maurin Université Paris 3-Sorbonne NouvelleLa Grand-Route et ses Embranchements
Anaïs Bonnier Université Paris 3-Sorbonne NouvellePour une Cartographie des Espaces Sonores
Simon Hagemann Université Franche-ComtéLa Société Médiatique sur la Scène Théâtrale
Displacement and Coercion in Chile, Japan, Africa, and the Unites States
In this panel we are dealing with the tension and resistance of bodies in widely and widely different contemporary performance cultures from Africa, Japan, Chile and United States. We would like the differences between our subjects, our forms and our arguments to be central to our panel’s purpose: To collec-tively probe these different and resistant bodies, actions, materials, texts and
General Panel 5
3:30 pm – 5:00 pm
GP.WGS-35: African and Caribbean Theatre and Performance
Room: Teatre Estudi
GP.CUR-20: Ivo van Hove (II)
Room: S4.S9
GP.CUR-14: Resistant Acts
Room: S4.S4
Wednesday 24th 3:30 pm - 5:00 pmWednesday 24th 12:30 pm - 2:00 pm 5958
choreographies with our different theories and arguments. We suggest that “routes” and “roots” break down in terms of our differences, and that we have to re-consider dis-connections and dis-orientations instead of passages of map-pings. Our papers suggest that we have more to risk and more to challenge in these disconnected spaces-off actions, which resist and compel imagination, desire, and the politics of “culture” and “nation.”
Co-Chairs: Sruti Bala and Aoife McGraph
Hayato Kosuge Keio UniversityButoh Beyond Theatres: Ohno Kazuo in the University Campus
Wallace McDowell University of WarwickDancing to a Different Tune: A Performance-Based initiative to Reimagine the Iconography of Ulster Loyalism
Katherine Mezur Independent ScholarDancing Precarity: “Mali on my Mind, Japan-land in my Nightmares”
Chair: Tiina Rosenberg
Maria Filomena Chiaradia National Arts Foundation, Information and Documentation CenterBibi Ferreira on a Portuguese Route: The Collaboration with Eugénio Salvador
Christine Junqueira Leite de Medeiros UNIRIO, Federal University of the State of Rio de Janeiro / FAPERJ, Foundation for Research Support of the State of Rio de JaneiroBeatriz Costa: The Tour of a Portuguese Actress in Brazil
Hélène Ohlsson Stockholm UniversitySubversive Heroines in the Late Nineteenth Century
Chair: Ella Finer
Dennis Elkins Fort Lewis CollegeAnna Estrada Institut del TeatreFitzmaurice Voicework®: Sensing Physical Impulses by Re-mapping Vocal Production
Friederike Felbeck Universitaet HamburgNew Horizons-Blurry, with a Tempest Raging but Inches Away: Transformation Processes in Contemporary Acting Training in Austria, Germany and Switzerland
María Goiricelaya UPV / EHU Basque Actors UnionThe Routes of my Roots: Towards the Vocal Training in the 21st Century
Chair: Christopher Balme
André Luís Gardel Barbosa UNIRIO, Federal University of the State of Rio de JaneiroPerspective Anthropophagical History of Brazilian Theater: Anchieta and the Amerindian Perspectivism
GP-23: Re-Routing Divism
Room: Auditorium
GP-37: Babel’s Tower
Room: P2.S6
GP-42: Models for Hybridity
Room: Flamenco Room
Hilary Halba University of OtagoDouble Origins, Double Routes: Hybridity in Bicultural Theatre
Cláudia Tatinge Nascimento Wesleyan UniversityCritical Devoration: Brazilian Performance and the “Cannibalist Manifesto”
Chair: Katharine Cockin
David Cregan Villanova UniversityRe-Routing Sex: Reclaiming the Body and the Spirit in Oscar Wilde’s Salomé
Laura Monros-Gaspar Universitat de ValenciaVictorian Routes to Madness: Cassandra and the Spanish Gipsy on the Popular Stage
Chair: Clara Wallace
Yael Zelda Feiler Södertörn UniversityRepresentation, Ethnicity and Power in Swedish Performing Arts
Chante Mouton Kinyon National University of Ireland, GalwayStaging Authenticity
Katrin Sieg Georgetown UniversityEthnic Drag Reloaded
Chair: David Savran
Asma Ayob UNISA/Playwright and LecturerBollywood Cinema: From Humble Beginnings in Parsi Theatre to a Cultural Phenomenon
Sara Elisabeth Granath Södertörn UniversityQueering the Bold and the Beautiful
Gordana Maric Faculty of Dramatic ArtsThe Anthropology of Ritual Performance
Chair: Thomas F. DeFrantz
Cristina Rosa Florida State University / Interweaving Performance Cul-turesChoreographing Ideas Otherwise: Re-routing Contemporary Dancing in Brazil
Sabine Sorgel University of SurreyRe-Routing Dance: On Tilts, Bluffs and Moves
Ester Vendrell Institut del TeatreRe-routing Choreography: Dance an Cultural Policies. The Case of Catalonia between 1975-2000
GP-49: Feminity at the Turn of the 20 th Century
Room: Plató
GP-55: Ethnic Representations in Europe
Room: P3.S2
GP-63: Following the Routes of Today’s Pop Culture
Room: S4.S9
GP-70: National and Transnational Contemporary Dance
Room: P2.S4
Wednesday 24th 3:30 pm - 5:00 pmWednesday 24th 3:30 pm - 5:00 pm 6160
Chair: Brian Singleton
Fawzia Afzal-Khan Montclair State UniversityTravelling Performativities: Re-Orienting Orientalism in Shafik Gabr’s “What Orientalist Painters Can Teach Us About the Art of East-West Dialogue,” Ayad Akhtar’s Disgrace and World Hijab Day in Pakistan
Yin-Ying Huang Chang Gung UniversityLiterature as Roots/Routes of Performance: Cloud Gate’s Dance works Inspired by Literature and Asian Traditions
Nancy Lee Ruyter University of California, IrvineLa Meri and Her Re-Routing of World Dance Traditions
Bussiness Meeting
Anna Marjaana ThuringTheatre Academy-University of the Arts HelsinkiDynamics of Appropriation: Fusions of Asian and Western Actor Training
Paper distribution to be decided. See note on the Choreography and Corporeality Working Group Meeting 1.
Lisa Fitzpatrick University of UlsterMemory, Affect, and Systemic Gender Violence
Elin Diamond Rutgers, The State University of New JerseyNew Habits of the Heart: Feminist Performance in Neoliberal Times
Discussion
Modernity
Chair: Magnus Thorbergsson
Janne Risum Aarhus UniversityKleist’s Fallen Man: A Myth on the Move
GP-76: Re-Routing the “Orient”
Room: P2.S5
Working Groups Meeting 2
5:30 pm – 7:00 pm
African and Caribbean
Room: Puppetry Room
Asian Theatre
Room: P4.S2
Choreography and Corporeality
Room: P2.S4
Feminist Research
Room: P2.S5
Historiography
Room: S4.S2
Stephen Wilmer Trinity College DublinTracing a Route from Fluxus to Schlingensief
Yael Zarhy-Levo Tel Aviv UniversityLooking Back: The Evolving Process of Historical Views
Pre and Pro Digital Cultures
Katie Gough University of GlasgowSoul-Space: Digital Remediation of Medieval “Flatness”
Olha Danylyk Central School of Speech and Drama, University of LondonIllusion, Magic and Impossible Ideas Come to Life. 4-D Immersive Storytelling in Theater Performance
Aneta Mancewic Central School of Speech and Drama, University of Lon-don / Kazimierz Wielki University, BydgoszczRe-Routing Intermediality: Digital Intermediality without Digital Technology
This session includes 5 min written statement by Henriette Kassay-Schuster, delivered by one of the conveners
Discussion
David Savran CUNY, The Graduate CenterTrafficking in National Brands: Notes on the Political Economy of Theatre
Pamela Karantonis Bath Spa UniversityTranscribing Vocality: Ways of Talking about Talking and Listening at the Border of Music
Sheri Anderson Monmouth UniversityMake Sure You Never Say, “No”: The Laws of Attraction and Repulsion in The Fantasticks
The Performing Body
Megwyn Sanders-Andrews University of Wisconsin, MadisonPolitical Performances: Disability Rights and Pro-Life Rhetoric
Gili Hammer Hebrew University of JerusalemBlindness as a Performative Act: Gender, Disability, and the Sensory Body
Kohei Kikuchi Waseda UniversityPrimitive Cyborg: Life-size Marionettes in Samuel Foote’s Plays
Shimon Levy Tel Aviv UniversityBiblical Theatricality: Exposed
Carolyn Roark Ecumenica JournalDeath and the Puppet: Transcendence and the [In]Animate Object
Anita Ratnam University of California, Irvine / University of MadrasKetu Katrak University of California, IrvinePerforming the Chakras: Embodiment and Representation
Intermediality in Theatre and Performance
Room: S4.S7
Music Theatre
Room: Auditorium
Performance and Disability
Room: Plató
Performance and Religion
Room: P3.S1
Wednesday 24th 5:30 pm - 7:00 pmWednesday 24th 5:30 pm - 7:00 pm 6362
Group 3
3 presenters
Legacy/Identity/Publicness
Trish Reid Kingston UniversityAne Satyre of the Thrie Estaitis: Legacy and the Scottish Theatrical Tradition
Nese Ceren Tosun University of WarwickEdible Roots: Culinary Legacy Performed by Turkish Restaurants in London
Ewa Jeleń-Kubalewska Adam Mickiewicz University in PoznańSecond City: Or The District Of Poznan Saved By The Theatre
Lloyd Peters University of SalfordThe Roots of Alternative Comedy? The Alternative Story of 20th Century Coyote and Eighties British Comedy
Paola Botham Birmingham City UniversityRough History? David Greig and Political Theatre
Alexi Marchel University of WarwickThe Politics of the War of 1812 Commemorations in Canada
Gilberto Icle Université Fédéral du Rio Grande do SulPrésence et Langage: Approches du Processus de Création
Esther Gouarné Paris X Nanterre / VUB BruxellesPerformance et Distanciation au Cœur de la Création Collective
Clarisse Bardiot Université de ValenciennesRekall: Un Logiciel pour Documenter les Digital Performances
Queer Dramaturgies
Chair: TBA
Ben De Witte Rutgers, The State University of New JerseyQueerness in the Ruins of Representation: El público, or to the Modern Theater with Federico García Lorca
Niall Rea Queen’s University BelfastTowards an Obscenography: Queering Performance Design
Münip Melih Korukçu İstanbul Aydın UniversityThe Queer Elements In Ottoman Performance Arts
Fábio Andrade University of São PauloUn Petit Beurre ni Lu ni Connu or What Murphy Tastes like in Brazilian Portuguese?
Teresa Rossell Nicolás Universitat de BarcelonaForms at the Time of their Impossibility
Performance as Research
Room: Teatre Estudi
Performance in Public Spaces
Room: S4.S5
Political Performances
Room: S4.S6
Processus de Création
Room: S4.S4
Queer Futures
Room: P2.S6
Samuel Beckett
Room: Scanner
Veronique Lemaire Independent artist/PofessorAnna Viebrock - Edward Hopper: L’Inquiétante Étrangeté comme Source d’un Nouveau Réalisme Scénique
Scott Palmer University of LeedsLight and the Choreography of Space: The Scenographic Legacy of Adolphe Appia
Katherine Syer University of Illinois at Urbana-ChampaignA Living Ring: Choreographed Set Pieces in Three Productions of Wagner’s Tetralogy
Spatial Narratives, Site-Specificity and Dramaturgy
Bertie Ferdman City University of New York, BMCCMoving Site, Moving Time: Geyser Land and RFK in EKY
Klaus van den Berg University of TennesseeMendelsohn, Nouvel, and Koolhaas: Architectural Interventions in the Hyperreal City
Henri Schoenmakers University College Roosevelt, Utrecht University / Friedrich Alexander Universität Erlangen-NürnbergTheatre Scandals and the “Actors” Trying to Control the Playground of Theatre
Willmar Sauter Stockholm UniversityRacism, Murder and Responsibilities: A Swedish Case from 1999
Anneli Saro University of TartuScandalous Naturalism of Theatre
Scenography
Room: S4.S9
Joint Session: Theatre Architecture + Translation, Adaptation & Dramaturgy
Room: Scenography Workshop
Theatrical Event
Room: S4.S3
Wednesday 24th 5:30 pm - 7:00 pmWednesday 24th 5:30 pm - 7:00 pm 6564
Shakespearean Routes: Indigeneity, Culture, and Aesthetics
This panel fulfills both of the possible reasons for the public panel, representing quite strongly one aspect of the group’s work over the last few years, while at the same time fitting in perfectly with the conference’s themes of migration and “re-routing.” These essays all consider contemporary re-appropriations of Shake-speare which resituate and re-imagine the Bard’s continuing significance across geography and time. These essays are a perfect example of how the group’s work is at the heart of the very concerns that IFTR is exploring as an organisation.
Chair: Bernadette Cochrane
Carla Della Gatta Northwestern UniversityShakespeare and Latinidad: Constructing Cultural Difference Through Translation/Adaptation
Sara McCourt University of ExeterChanging Languages of Performance: Adapting Shakespeare for the 21st Century Stage
Emer O’Toole Royal Holloway, University of LondonIndigeneity, Cultural Capital and the World Shakespeare Festival: Reading Ngakau Toa’s Toroihi raua ko Kahiri
Rethinking Theatre and the Political
This panel aims to re-examine the axiomatics of committed, critically engaged theatre in the light of Ranciere and Zizek’s proposition of the “post-political” present. The post-political discourse suggests the grounds for theatres’ engage-ment with politics has radically shifted. Three papers and discussion develop contrasting perspectives on this idea.
Chair: Denise Varney
Peter Eckersall University of MelbourneRerouting Theatre as New Media Dramaturgy: Kris Verdonck and the Structure of End Time
James Oliver University of MelbournePerforming Space: Structures of Feeling, Radical Reflexivity, and Everyday Cultural Production
Eddie Paterson University of MelbourneHallam Stevens Nanyang Technological UniversityLab Spaces: Biotech as Performance
Thursday 25th
General Panel 6
10:30 am – 12:00 pm
GP.WGS-31: Translation, Adaptation & Dramaturgy
Room: Teatre Estudi
GP.CUR-15: Theatre & Political
Room: S4.S7
Performative Acts and The Re-Routing of Identity: The Secret Paths of Martyrs, Prisoners and Monstrous Individuals
Our papers are linked by a common concern with the radical redefinition of identity that occurs in specific performance environments: asymmetrical war-fare (Suicide Bombers), maximum surveillance institutions (Guantanamo In-mates), and the courts (Legal Defense of Professed Werewolves). The panel’s concern with “radical identities” directly corresponds with conference theme because the literal definition of “radical” pertains to a return to the “roots” of something, in this case the roots of specific identities.
Chair: Jean Graham-Jones
James Harding University of WarwickAll the Island is a Stage: Maximum Surveillance Environments and the Legal Re-Routing of Prisoners at Guantanamo and Beyond
Michael Chemers UCSC, University of California Santa CruzOn the Trail of the Beast: Criminal Performance and the Werewolf Identity
Maaike Bleeker Utrecht UniversityRoute Causes: The Path of the Martyr in Rabih Mroué’s Three Posters
Chair: Mercè Saumell
Peter Eversmann University of AmsterdamRe-routing Performances through the Classroom: The Archive as a Travel Agency
Sharon Lehner Brooklyn Academy of MusicToward the Development of a Performing Arts Ontology for Digital Discovery Tools
Joanne Tompkins University of QueenslandDigital Humanities Tools on the Early Modern Stage: “Re-routing” Theatre History
Anna Valls Institut del TeatreThe ICT and the Promotion of Cultural Heritage: The Experience of MAE, Centre of Documentation and Performing Arts Museum
Chair: Lisa Fitzpatrick
Miriam Haughton National University of Ireland, GalwayVacant Spaces or Haunted Spaces? Performance, Presence and Survival in Post-Celtic Tiger Ireland
Eve Katsouraki University of East LondonGravitational Uprootedness: Praxes of Resistance, Transgression and Renewals of Sovereignty in Political Suicide
Paul Murphy Queen’s University Belfast Neoliberal Practices
GP.CUR-12: Re-Routing of Identity
Room: P2.S5
GP-4: Digital Archives as Research/Teaching Tools
Room: Auditorium
GP-20: Performing the Global Financial Crisis
Room: P2.S6
Thursday 25th 10:30 am - 12:00 pmThursday 25th 10:30 am - 12:00 pm 6766
Chair: Margaret Werry
Susan Bennett University of CalgaryFlows and Markets: The New International of Performance Culture
Peter Davis University of Illinois at Urbana-ChampaignThe Hallams Re-routed: The Economies of Commerce and the Origins of America’s First Professional Theatre Company
Julius-Adeoye‘Rantimi Redeemer’s UniversityTheatre Performance and Commercialization in Nigeria
Chair: Hayato Kosuge
Hsiao-Mei Hsieh National Taiwan UniversityLocalizing Shakespeare: Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan
Carol Fisher Sorgenfrei UCLA, University of California Los AngelesSupernatural Soliciting: Pathways from Betrayal to Retribution in “Macbeth” and “Yotsuya Kaidan”
Masae Suzuki Royal Holloway, University of London / Kyoto Sangyo UniversityRoots and Routs: The Transformation of Puck in Midsummer Night’s Dream in Mainland Japan and Okinawa
Chair: Milija Gluhovic
Michael Anderson University of KentTowards a New Form of National Theatre?
Ott Karulin University of TartuTouring in Estonia: State Policy or Resource of Survival for Theatres?
Pirkko Koski University of HelsinkiRoots, Travels and Tradition
Magnus Thor Thorbergsson Iceland Academy of the ArtsBecoming European: Staging the Nation in 1920s Icelandic Theatre
Chair: Michael Pearson
Larissa Elias UFRJ, Universidade Federal do Rio de JaneiroPeter Brook – Anton Chekhov: Redefinitions of Empty Space
Laura Grondahl Aalto UniversityRe-routing Scenographic Strategies
Flora Pitrolo Roehampton UniversityBlue Fugues: Interior / Exterior, Spatialisation and the Geometry of the Fugue in La Gaia Scienza
GP-29: Theatre as a Commercial Venture
Room: P4.S8
GP-47: East-Asian Shakespeare
Room: S4.S4
GP-53: Re-Routing European National Theatres
Room: Plató
GP-61:Re-Thinking Space
Room: S4. S9
Chair: Cristel Stepaert
Rossella Ferrari School of Oriental and African Studies, University of LondonRhizomes of Exchange and Performances in Journey-Form in East Asia
Paul Rae National University of SingaporePerformer-Network-Theory? On Following the Actors
Sir Anril Pineda Tiatco National University of Singapore / University of the PhilippinesTheatre and Cosmopolitanism: Towards and Against the Ontology of Theatre
Chair: Khalid Amine
Marvin Carlson CUNY, The Graduate CenterRe-routing Western Theatre through the Arab World
Johan Coetser University of South AfricaDias and his Literary Successors
Franklin J. Hildy University of MarylandThe Routes of Theatre’s Architectural Forms: The Mediterranean to Asia and Back
Chair: Anita Piemonti
Teresa Izzard Curtin UniversityThe Somatic Route: How Somatic Theatre Praxis can Support and Extend Directorial Practice in the Twenty-First Century
Agustí Ros Institut del TeatreLe Motif Writing un Outil pour la Composition Chorégraphique
Re-Routing Roots
The themes of disability challenge the roots of performance tradition, as well as the routes into performance or performance studies. This is the first official year of the Performance and Disability Working Group, and by featuring a panel during the main part of the conference, we can introduce ourselves to the larger IFTR membership. These panellists and their work represent the broad geographical reach and thematic study of our working group, while the papers will appeal to generalists and those unfamiliar with our fields.
Chair: Petra Kuppers
GP-75: Flows, Networks and Rhizomes
Room: P2.S4
GP-78: Expanding From the West: Mediterranean Roots in Africa and Asia
Room: Flamenco Room
GP-85: Re-Routing Laban(EN/FR)
Room: P3.S1
General Panel 7
12:30 pm – 2:00 pm
GP.WGS-33: Performance and Disability
Room: Teatre Estudi
Thursday 25th 12:30 pm - 2:00 pmThursday 25th 10:30 am - 12:00 pm 6968
Kirsty Johnston University of British ColumbiaGarden Path Plays: Recasting Modernism through Disability Theatre
Yvonne Schmidt Zurich University of the Arts / University of BerneRe-routing Acting Discourse from a Disability Perspective
Akhila Vimal C Jawaharlal Nehru UniversityProsthetic Rasa: Dance on Wheels and Challenged Kinesthetics
This panel is concerned with the performance of gender, victimhood and em-powerment. It looks at the connection or “routes” between first world mar-kets and developing nations’ suppliers of trafficked bodies. The papers offer contextualization of performances around trafficking, violence, social inter-ventions, and “rescue” programs. These papers are part of a JNU/Warwick collaboration on comparative politics and performance.
Chair: Bishnuprya Paul (Dutt)
Janelle Reinelt University of WarwickSex Traffic, Citizenship, and Performance
Urmimala Sarkar Jawaharlal Nehru UniversityPerforming “Survival”: Re-routing the Trafficked Body
This panel explores challenges offered to theatre and performance by the natu-ral. Focusing on three different moments of encounter, the three explore the intertwinement of the natural and the social within the performance space. Ranging across global and historical examples, from the French Revolution to contemporary haute cuisine to the appearance of the animal onstage, each of three explores intersection of the natural and the cultural that pose provoca-tive questions about embodied practices
Chair: Paul Rae
Joshua Abrams University of RoehamptonCulinary Roots: Dining and the Theatrical
Kimberly Jannarone UCSC, University of California Santa CruzRevolutionary Bodies
Jen Parker-Starbuck University of RoehamptonRouting Animals into Performance: Spectatorial Subjectivities
Chair: Elin Diamond
Anne Fliotsos Purdue UniversityFinding Routes: Comparing the Pathways of Women Directors Across Cultures
Ursula Neuerburg-Denzer Concordia UniversityAffecting Bodies on Karin Beier’s Stage
Chair: Joanne Tompkins
Glenn D’Cruz Deakin UniversityRe-routing Ibsen: Naturalism, Forum Theatre and “the World-to-Come” in Thomas Ostermeier’s An Enemy of the People
GP.CUR-25: Re-Routing (sex) Traffic in Performance
Room: Plató
GP.CUR-18: Natural Roots: Scholarly Roots
Room: S4.S4
GP-6: New Roles for Women in the Theatre
Room: S4.S9
GP-11: Re-Routing Ibsen
Room: Auditorium
Tapati Gupta Calcutta UniversityThe Travelling Text: Ibsen’s The Wild Duck Re-routed and Re-rooted
Julie Holledge University of Oslo. AustraliaNora e.Scapes: Visualising the Global Routes of A Doll’s House
Chair: Pamela Karantonis
Daniela Schulz University HildesheimLa Fura dels Baus’ reroo/uting Wagner
Gero Toegl LMU- Ludwig-Maximilians UniversityGlobal/Local: Wagner/Bayreuth
Jukka von Boehm University of HelsinkiRevolutionary Utopianism vs. Socialist Realism: Richard Wagner’s Lohengrin and the Struggle on “Progressive” Socialist Heritage
Chair: Frédéric Maurin
Lluís Masgrau Institut del TeatreEugenio Barba’s Written Work: The Theatrical Vision Implied in Its Structure
Kelli Melson Edna Manley College of the Visual and Performing ArtsThe Translation of Practice
Brigitte Natanson Université d’OrléansHistoire et Fiction dans le Théâtre du Río de la Plata: Que Fait le Paratexte Théâtral et qu’en Faire?
Chair: Marla Carlson
Jade Rosina McCutcheon University of MelbourneThe Performance Mirror: Consciousness, Mirror Neurons and Verbatim Theatre
Teemu Paavolainen University of TampereCycles and Shortcuts: Theatricality, Performativity, and Cognitive Ecology
Nicola Shaughnessy University of KentDifferent Directions: Exploring and Journeying with Autism through Contemporary Theatre Practice
Chair: Carol Fisher Sorgenfrei
Chieko Hiranoi Hosei UniversityHistory of Local Amateur Kabuki, Ji-shibai
Yuko Kurahashi Kent State UniversityThree Movements and their Interactions in Contemporary Japanese Theatre: Shingeki, Theatre of the Absurd, and Experimental Theatre from the 1950s-1970s
Pao Hsiang Wang National Taiwan UniversityThe Butterfly Effect: Trans-national Routing of a Japanese Butterfly from Belasco, Puccini, to David Henry Hwang
GP-14: Re-Routing Wagner
Room: S4.S8
GP-32: Re-Reading Texts: Reading in between the Lines (EN/FR)
Room: P2.S4
GP-38: Cognitive Perspectives Room: P2.S5
GP-46: Re-Routing Japanism
Room: Flamenco Room
Thursday 25th 12:30 pm - 2:00 pmThursday 25th 12:30 pm - 2:00 pm 7170
Chair: Thea Brejzech
Filipe Figueiredo University of Lisbon, Centre for Theatre StudiesThe Fleeting Gaze: Re-Discovering Theatre and Performance through Image
Meg Mumford University of New South WalesA Journey through Mobile Academy’s “Blackmarket”: An Agora for Alternative Modes of Educational Exchange and Intercultural Encounter?
Nicholas Wood Central School of Speech and Drama, University of LondonFlatness and Depth: Further Considerations
Chair: Ester Vendrell
Jordi Fàbrega Institut del TeatreL’Interpretation dans la Danse
Elisa Martins Belém Vieira UNICAMP, University of CampinasCreative Process and Teaching: Approaches to the Body
Anita Piemonti Universitá di PisaVirgilio Sieni’s Contribution to Contemporary Dance or Dancing the Mediterranean
Chair: Bertie Ferdman Daphna Ben-Shaul Tel Aviv UniversityUn-Placing Home: Performative Apartments as Crossroads of Un-rooted Identities
Ulrike Garde Macquarie University, SydneyFollowing the Routes of X Homes (Berlin): Reality, Fiction and Fresh Intercultural Encounters
Thomas Riccio University of Texas at DallasPerformance Installation: At Play with the Dead White Zombies
Awo Mana Asiedu University of GhanaCreating a Community: Roverman Productions and its Audiences
David Donkor Texas A&M UniversityDance of the Savior King: Statecraft, Stagecraft and the Grand Durbar of Ghanaian Independence
GP-51: Bidimensional Theatre
Room: P3.S1
GP-66: New Directions in Dance Pedagogy and Choreography (EN/FR)
Room: P2.S4
GP-82: Site. Specific Experiences
Room: S4.S7
Working Groups Meeting 3
3:30 pm – 5:00 pm
African and Caribbean Theatre and Performance
Room: Puppetry Room
Oluwagbemiga Oluwasegun Windapo Adeniran Ogunsanya College of EducationHafiz Adebimpe Oyetoro Adeniran Ogunsanya College of EducationOriginating the Origin: A Return to Alarinjo Theatre, the AOCOED Exam-ple
Empowering Feminised Voices: Moroccan Perspectives
Moderator: Marvin Carlson
Khalid Amine University MoroccoThe Remediation of “Arab Spring” in Performance
Jaouad Radouani University of FezThe Cultural/Spectacular Dimensions of the “Arab Spring” in Morocco
Discussion
Ursula Maya Tångeberg-Grischin Theatre Academy Helsinki-Art UniversityThe Techniques of Gesture Language in kūṭiyāṭṭaṃ and the French Pantomime of the 19th Century
Paper distribution to be decided. See note on the Choreography and Corporeality Working Group Meeting 1.
Kim Solga Queen Mary University of LondonRealism After Neoliberalism
Candice Amich Carnegie Mellon UniversityFeminist Performance and the Limits of Witness in Neoliberal Times
Denise Varney University of MelbourneFeminism, Feminist Discourse and Performance in Neoliberal Spaces: Three Public Performers
Chair: Janne Risum
Archives and sources
Janice Norwood University of HertfordshireMaps, Gaps and Snaps: Developing New Theatrical Biographies
Nora Katharina Probst University of CologneTraces of Performance: The Ethnographical Roots of Theatre Studies in Carl Niessens Theatre Museum (founded in 1919)
Jonathan Pitches University of LeedsStorytelling and Mythmaking in the Archive: The Case of Chekhov’s Fishing Scene
Arabic Theatre
Room: P4.S1
Asian Theatre
Room: P4.S2
Choreography and Corporeality
Room: P2.S4
Feminist Research
Room: P2.S5
Historiography
Room: S4.S2
Thursday 25th 3:30 pm - 5:00 pmThursday 25th 3:30 pm - 5:00 pm 7372
Intermedial Interventions in Pedagogy and Practice
Antje Budde University of TorontoThe Digital Dramaturgy Lab: Re-routing in Progress
Raquel Guerra UFSM, Federal University of Santa Maria / UDESC, Univer-sidade do Estado de Santa CatarinaThe Performer and his Body: Dialogue with Videographyc Pictures
Clio Unger LMU-Ludwig Maximilians UniversityDomestic Tension: Wafaa Bilal, the Internet and the Paradigms of Intermedial Performance Art
Discussion
Michal Grover Friedlander Tel Aviv UniversityPuppeteering the Singing Voice
Jeongwon Joe University of CincinnatiRe-Routing Opera to Movie Theatre: A Crossover Between Stage and Screen
Susana Egea Ruiz Institut del Teatre / UAB, Universitat Autònoma de BarcelonaActing on Opera: Bases for the Development of an Acting Training for Opera Singers
Routes to/from Dance
Adam Benjamin Plymouth UniversityHighways and Lay-bys: A Consideration of Integrated Performance and the Tensions that Exist Between Virtuosic/Professional and Inclusive/Community Dance Practices
Erik Ferguson Independent artist / Wobbly DanceThe Body Weathered By Life: When The Imperfect is Perfect
Margaret Ames Aberystwyth UniversityRe-Routing Choreography: From Disability to a Renewed Future for Dance
David O’Donnell Victoria University of WellingtonHouse of Spirits: Performing Spirituality in Pacific Theatre
Charles Nwadigwe Nnamdi Azikiwe UniversityVisions and the Borderless: Performance, Healing and the Changing Routes of Health-Seeking Behaviour in Southeastern Nigeria
Esra Cizmeci Roehampton UniversitySufi Rituals: Performing Transcendence
Group 4
3 presenters
Intermediality in Theatre and Performance
Room: S4.S7
Music Theatre
Room: Auditorium
Performance and Disability
Room: Plató
Performance and Religion
Room: P3.S1
Performance as Research
Room: Flamenco Room
Politics
Sigridur Lara Sigurjonsdottir University of IcelandThe Pots and Pans Revolution in Iceland (Quote-Unquote…?)
Swati Arora University of ExeterJam, Jamun and Purple Haze: The Non-(Re)Performance as a Political Cabaret
Katarzyna Beilinç University of Wisconsin, MadisonAnimal Rights Movement Performance Activism and Media Retransmissions
Discussion
Enric Monforte University of BarcelonaRacial Violence, Witnessing and Emancipated Spectatorship in Fallout and random
Mireia Aragay University of BarcelonaRacial Violence, Witnessing and Emancipated Spectatorship in The Colour of Justice
Deirdre Heddon University of GlasgowForest Politics
Patricio Rodriguez Plaza Pontificia Universidad Católica de ChileColectivo Obras Públicas: Mémoires et Matérialités de la Rue
Aristita I. Albacan University of HullFlashmobs as Performance: the Re-emergence of Creative Communities
Clare Finburgh University of EssexRencontres avec le son: la Musique comme principe structurant dans le Théâtre du Radeau
Optimism, Utopia and Futurity
Chair: Fintan Walsh
Donnell Williams Columbia College ChicagoQueerer Than We Can Suppose: Evolution and Futurity in the Work of DoubleDJ
Stephen Greer University of GlasgowAffects of Optimism
Paul Bonin-Rodriguez University of Texas at AustinReturn (Enter): “How much of that is you?”
Li Lin University of CambridgeForms of Prosopopeia in the Radio Works of Samuel Beckett and the Diego Paintings of Alberto Giacometti
Tzu-Ching Yeh Lancaster UniversitySamuel Beckett’s Radio Drama: The Musical and the Minimal
Performance in Public Spaces
Room: S4.S5
Political Performances
Room: S4.S6
Processus de Création
Room: S4.S4
Queer Futures
Room: P2.S6
Samuel Beckett
Room: Scanner
Thursday 25th 3:30 pm - 5:00 pmThursday 25th 3:30 pm - 5:00 pm 7574
Scenography
Room: S4.S9
Theatre Architecture
Room: Scenography Workshop
Theatrical Event
Room: S4.S3
Translation, Adaptation & Dramaturgy
Room: S4.S8
General Panel 8
5:30 pm – 7:00 pm
GP.CUR-29: MAIPR Roundtable: Re-Routing International Performance Research Room: Teatre Estudi
GP.CUR-28: Memory
Room: Plató
GP-1 : Réinterprétations des Créateurs Room : P3.S1
GP-21: The Route of Theatre under Totalitarian Regimes Room: S4.S8
Chair: Lluís Masgrau
Participants:Mark Fleishman University of Cape TownMiñija Gluhovic University of WarwickLonneke van Heugten Amsterdam School for Cultural Analysis (ASCA)Hanna Korsberg University of HelsinkiJanelle Reinelt University of WarwickKati Röttger University of AmsterdamLisa Skwirblies University of WarwickIvana Vujic University of Arts, Belgrade
Memory and Ecologies of Hope
In the late twentieth century, public performances of testimonial memories be-came associated with the voicing of suppressed identities, unrecognized claims and the atonement for horrific genocidal and political violence in fragment-ing nations. In contrast, these four presentations in contrasting ways explore whether performances of memory in the present can act as instigation for pro-test, recuperation and reinvention of communities a cross borders of space, time, nation, gender, and race.
Chair: Freddie Rokem
Heather Hermant York University, Canada & Utrecht UniversityBecoming Archive: Performance as Countercolonial Historiography in the Story of an 18th Century Multicrosser
Nayani Thiyagarajah York University(Re)Claiming the Body and Voice as Sites of Refuge Following Forced Displacement
Honor Ford-Smith York UniversityCommemoration, Neoliberal Violence and Ecologies of Hope in Jamaican Communities
Camille Turner York UniversityHush Harbour: Black Geographies and the Sonic Cultures of Memory
Chair: Jordi Fàbrega
Ana Maria de Bulhões-Carvalho UNIRIO, Université Federal de l’État de Rio de JaneiroVoyage au Bout de Soi Même
Roberto Fratini Serafide Institut del TeatreCéline et Genet: Danses et Déroutes du Langage
Chair: Berenika Szymanski-Duell
Evelyn Annuss Ruhr University BochumFrom Sound to Ornament. On the Relation of Radio, Film and Chorical Stagings during Nationalsocialism
Šárka Havlíčková Kysová Masaryk UniversityMiroslav Kouřil’s Scenographic Theory: Establishing a New Scientific Discipline in the Totalitarian Regime
Franck Ancel Independent ScholarGlobal Poétique Système
Lawrence Wallen University of Technology, SydneyMaterial, Space, Performance by Thea Brejzek and Lawrence Wallen
Business Meeting
Immersion, Environments and Site-specificity
Andrew Filmer Aberystwyth UniversityMateriality and Reverberation: Sensory Immersion in Coriolan/us
Michael Pearson Aberystwyth UniversityOn Sight; on Site: Thinking Architecturally, with National Theatre Wales
Giselly Brasil University of São PauloHelio Oiticica and Lygia Clark´s Theatrical Architectures
Andrew Lewis Smith Edith Cowan University, The Western Australian Academy of Performing ArtsRe-Routing Performance: Theatre and Scandalous Events; Clinchfield – Elephanticide in Tennessee in 1916 by Andrew Lewis and Robyn Torney
Rikard Hoogland Stockholm UniversitySCUM – Scandal
Janne Tapper University of HelsinkiCrime, Public Opinion, and Artistic Talent in Theatrical Scandals
Christophe Collard Free University of BrusselsOn the Transferability of Data Bodies: John Jesurun’s Mediaturgical Faust
Paul Monaghan University of MelbourneA Rediscovery of Forgotten Dramaturgies
The roundtable discusses broader perspectives on the field of international performance research, as developed in the framework of the Erasmus Mundus postgraduate Programme in International Performance Research (MAIPR), and ongoing collaboration between the universities of Amsterdam (Nether-lands), Belgrade (Serbia), Helsinki (Findland) and Warwick (UK). The con-clusion of the first five years of the programme (2008-2013) provides an op-portunity to take stock of the achievements, insights and challenges of what international performance research is and ought to be about.
Thursday 25th 5:30 pm - 7:00 pmThursday 25th 5:30 pm - 7:00 pm 7776
GP-27: Possible Futures
Room: S4.S4
GP-34: Time to Play
Room: S4.S9
GP-39: Re-routing Grotowski
Room: P2.S5
GP-48: Female Voices and Legacies
Room: Flamenco Room
GP-57: Pichet Klunchun en Route
Room: Auditorium
Chair: Margaret Coldiron
Tanja Klankert University of BerneRe-Routing Khon: Cultural Translations in the Works of Pichet Klunchun
Nic Leonhardt LMU Munich“From the Land of the White Elephant through the Gay Cities of Europe and America”: Re-routing the Boosra Mahin Siamese Theatrical Troupe’s World Tour (1900)
Pawit Mahasarinand Chulalongkorn UniversityOur Roots Right Now: Neo-Exotic Southeast Asia?
Edgaras Klivis Vytautas Magnus UniversityRe-visiting the Totalitarian Past: Tourism, Therapy and Politics in the Survival Drama of 1984
Chair: Joshua Abrams
Siân Adiseshiah University of LincolnRe-routing Utopian Drama
Patrick Ebewo Tshwane University of TechnologySarafina in Black and White: The History of our Future
Ulla Kallenbach University of CopenhagenThe Transformation of Imagination
Chair: Anna Sica
Ramune Baleviciute Lithuanian Academy of Music and TheatreTime for Comedy?
David George Swansea University / The University of LeedsJoan Brossa and the Commedia dell’Arte
Viŷnja Rogoŷiŷ University of ZagrebDevising New Routes: Limits and Liminalities of the Creative Process in Devised Theatre
Chair: Ben Spatz
Giuliano Campo AHRI, Arts and Humanities Research InstituteActing and Possession: Altered States of Consciousness (ASC) and Correlations with Theatre
Dariusz Kosiŷski Jagiellonian University / The Grotowski Institute at WrocńawThe Laboratory Theatre on the Road
Rŷta Maŷeikienŷ Vytautas Magnus UniversityActing as Reacting: Traces of Grotowskian Concept of Acting in Eimuntas Nekrošius’s Theatre
Chair: Leslie Ferris
Brenda Donohue Trinity College Dublin“Io odio il teatro” (“I hate the theatre”): Emma Dante’s Conflicted Route to Theatrical Creation
Carmina Salvatierra Capdevila Universy of BarcelonaMonika Pagneux: Passing on the Legacy
Nigel Stewart Lancaster UniversityThe Erotic Reduction: Re-routing the Pornographic Imagination in Lea Anderson’s The Featherstonehaughs Draw on the Sketch Books of Egon Schiele
Thursday 25th 5:30 pm - 7:00 pmThursday 25th 5:30 pm - 7:00 pm 7978
Friday 26th
Working Groups Meeting 4
9:00 am – 12:00 pm
African and Caribbean Theatre and Performance
Room: Puppetry Room
9:00 am – 11:00 am
Arabic Theatre
Room: P4.S1
9:30 am – 11:00 am
11:00 am – 11:15 am:
11:15 am – 12:00 pm
Choreography and Corporeality
Room: P2.S4
9:00 am – 12:00 pm
Feminist Research
Room: P2.S5
9:00 am – 10:30 am
10:30 am – 11:00 am
11:00 am – 12:00 pm
Historiography
Room: S4.S2
9:00 am – 10:30 am
10:30 am – 11:00
11:00 am – 12:00 pm
Intermediality in Theatre and Performance
Room: S4.S7
9:00 am – 9:30 am
9:30 am – 11:00 am
Jennifer Goff Wayne State University“Am I an Almond?”: Comedy, Affect and the Unperformable in the Plays of Sarah Ruhl and Sheila Callaghan
Short break
Sruti Bala University of AmsterdamPerformance Anxieties in Elfriede Jelinek’s Online Private Novel Envy (Neid)Closing Discussion
Questions of Commerce
Chair: David Wiles
Kate Newey University of ExeterPantomime Maps
Hayley Jayne Bradley University of ManchesterThe Roots and Routes of our Narratives: Where we Look, What we See, How we Map
Meike Wagner LMU- Ludwig Maximilians University“The stage shall be the telegraph of our time…” Theatre, Circulation and Mobility in the 19th Century
Break
Business Meeting
Reflection and (Re)collection
Routes and Trajectories through the Intermedial
Máiréad Ní Chróinín National University of Ireland, GalwayNodes and Trajectories: Routes through Mixed Reality Theatre
Jocelyn Spence University of SurreyCollect Yourselves! Research through Design in Digitally Augmented Autobiographical Performance
Eirini Nedelkopoulou York St John UniversityRe-routing Intermedial Participation: (Anti) Social Generosity in Six Acts
Discussion
Alude Sinayo Mahali University of Cape TownAfter Images: Re-routing Contemporary Art-making in South Africa
Gilson Motta UNIRIO, Federal University of the State of Rio de JaneiroLe Collective de Performance Héros du Quotidien du Rio de Janeiro: Recherches Artistiques sur la Diaspora d’Origine Africaine au Brèsil
Mbala Dieudonné Nkanga University of MichiganFrom Metal Smelting to the Performance of the Mvett
Ariane Nina Zaytzeff NYU, Tisch School of the ArtsPerforming a History of Independence in Rwanda: Theater, Memory, and Imagination
“Arab Spring” Awakenings
Chair: Hazem Azmy
Dalia El-Shayal Cairo University“I am the Story”: A Female Journey of the Self through Performance
George Potter CIEE Study Center in Amman, Jordan)Revolutionary Bodies?: Egyptian Performers on Jordanian Stages
Coffee break
Conclusion of ATWG’s Seventh Annual Meeting: Preview of Future Plans
Paper distribution to be decided. See note on the Choreography and Corporeality Working Group Meeting 1.
Shonagh Hill St Patrick’s CollegeRupturing the Affects and Spaces of Participation
Sarah French University of MelbournePolitics, Pleasure and Pain: Affect in the Burlesque Performances of Moira Finucane
Friday 26th 9:00 am - 12:00 pmFriday 26th 9:00 am - 12:00 pm 8180
11:00 am – 11:15 am
11:15 am – 12:00 pm
Music Theatre
Room: Auditorium
9:00 am – 12:00 pm:
Performance and Conciousness
Room: P3.S3
9:00 am – 9:45 am
9:45 am – 10:30 am
10:30 am – 11:00 am
11:00 am – 12:00 pm
Performance and Disability
Room: Plató
10:30 am – 12:00 pm
Performance and Religion
Room: P3.S1
9:00 am – 9:30 am
9:30 am – 12:00 pm
Performance as Research
Room: Flamenco Room
9:00 am – 11:00 am
11:00 am – 12:00 pm
Performance in Public Spaces
Room: S4.S5
8:30 am – 11:00 am
11:00 am – 11:15 am
11:15 am – 12:00 pm
Political Performances
Room: S4.S6
9:00 am – 12:00 pm
Popular Entertainments
Room: P3.S2
9:00 am – 11:00 am
Group 5
4 presenters
Final Summary
Routes/Roots
Katalin Cseh University of ViennaFrom Closed Spaces to Open Spaces: Performative Intermedia Art in Hungary after 1989
Kerrie Reading Aberystwyth UniversityThe Lasting Efficacy of Temporary Performance in Public Spaces, Chapter Arts Centre, Cardiff
Tony Coult University of ReadingTwo Occupations – Celebrants of Peace and Children: April 1971 in London, August 1971 in Leeds
Discussion
Coffee Break
Wrap-up / Discussion / Planning
Charlotte Bell Queen Mary University of London)Performing Creative Destruction at the Aylesbury Estate in south London
Edelcio Mostaço UDESC, Universidade do Estado de Santa Catarina)Anthropophagy and Tragediacomediaorgya
Kerrie Schaefer University of Exeter)The Other Community: Theorising the Roots of and Routes for Community-Based Performance Practice and Research
Janina Möbius Freie Universität Berlin)“Too Naco to be Mexican?”: Negotiating “Lo Mexicano/The Mexican” in Mexican Popular Theatre, Mexican Wrestling, and Social Theatre in Mexico City
José Ramón Prado Universitat Jaume I)The Struggle for Representation: Depicting War in Gregory Burke’s Black Watch and David Hare’s Stuff Happens
Moderator: Bett PaceyVeronica Kelly University of QueenslandDavid N. Martin and Australian Variety
Moderator: Dorothea Volz
Coffee Break
And Now What?
Wrap-up Meeting. Planning Meeting for Future Projects.
José V. Pestana Universitat de BarcelonaTheatrical Performance as Leisure Experience: Its Role in Enhancing the Consciousness of the Self
Peter Zazzali University of KansasTo Think or Not to Think: A Critical Genealogy of the Performer’s Conscious and Unconscious States
Coffee Break
Discussion
(Re)routing Languages of the Stage
Seema Bahl Green River Community CollegeDisability, Hybridity, and Flamenco Cante
Khairani Barokka Independent artist/researcherHow to Feel a Screen: Telematics and Possibility in Poetic Performance and Disability
Rafael Ugarte Chacón Freie Universität BerlinRe-routing Vocal Music: Deaf Singers between Deaf and Hearing Culture
Louise Bagger Independent scholarRealization of the Spiritual in Interactive Theatre
Discussion.Organisation, structure, ways forward with the book, and group possibilities
Friday 26th 9:00 am - 12:00 pmFriday 26th 9:00 am - 12:00 pm 8382
11:00 am – 11:30 am
11:30 am – 1:00 pm
Processus de Création
Room: S4.S4
9:00 am – 12:00 am
Queer Futures
Room: P2.S6
9:00 am – 12:00 pm
Samuel Beckett
Room: Scanner
8:00 am – 10:00 am
10:00 am – 12:00 pm
Scenography
Room: S4.S9
9:00 am – 12:00 pm
Theatre ArchitectureRoom: Scenography
Workshop
9:00 am – 11:00 am
Theatrical Event
Room: S4.S3
9:00 am – 2:00 pm
Translation, Adaptation & Dramaturgy
Room: S4.S8
9:00 am – 11:00 am
Anna McMullan University of ReadingStaging Beckett: Samuel Beckett’s Impact on Theatre Practice in the UK and Ireland from 1955 to the Twenty-First Century
Michael Smalley University of Southern Queensland)The Stage Manager as the Scenographic Traffic Police: Re-routing Performance
Anna Solanilla i Roselló Institut del TeatreReview of the Pedagogy Used for Training Scenographers in the 21st Century
Néill O’Dwyer Trinity College DublinResponsive Environments in Theatre: Playing off the System & Setscape Architecture
Site-specificity, Found Spaces and Critical Practice between Architecture and Performance
Juliet Rufford Queen Mary, University of LondonChanging Tack: Contemporary Theatre and the Architectural Turn
Adam Park University of SheffieldPerforming as Mapping: How Can Site-Specific Performances Act as Propositional Tools in Sites of Urban Regeneration?
Marline Lisette Wilders University of AmsterdamRe-routing Industrial Heritage: La Fabbrica del Teatro
Eirini Kartsaki Anglia Ruskin UniversityThe Promiscuous Spectator
Barbara Orel University of LjubljanaPlaying Culture and Slovenian National Celebrations
Bess Rowen CUNY, The Graduate CenterBurning the Bridge While Bridging the Gap: Rioters as Pedagogues in The Plough and the Stars riot of 1926
Andrea Pelegri Kristic Universidad de Valparaiso and Pontificia Universi-dad Católica de ChileDrama Translation in Teatro UC and Teatro Nacional Chileno (1990-2010): A Socio-Historical Analysis
Maria Mytilinaki CUNY, The Graduate CenterTranslating from Greek into Neutral: Modern Greek Plays in English Translation
Youngjoo Choi Independent scholarTranslation in Action within Two Cultures
Heather Denyer CUNY, The Graduate CenterWho Will Translate Werewere Liking?
Bett Pacey Tshwane University of TechnologyThe Drive-in Theatre as a Popular Form of Entertainment in South Africa
Moderator: Jonathan BollenLisa Warrington University of OtagoThe Laughing Samoans: Comedy for the Lounge
Coffee
Business Meeting and Conclusion
Roberta Kumasaka Matsumoto University of BrasiliaAu Croisement des Mises en Scène Filmique et Théâtrale
Elisabeth Lopes University of São PauloL’Espace de la Ville Comme un Champ d’Expérimentation Artistique
Discussion, bilan et perspectives
Materiality and Affect
Chair: Steve Farrier
Sarah Mullan Queen Mary University of LondonQueering Lesbian Perspective: Ursula Martinez’s My Stories, Your Emails (2009)
Alyson Campbell University of MelbourneDirecting The Trouble with Harry: Queer Practice as Research as Erotohistoriography
Fintan Walsh Birkbeck, University of LondonThe Matter of Queer Politics and Ethics: Antony Hegarty and The Crying Light
Lazlo Ilya Pearlman Central School of Speech and Drama, University of LondonKisses Cause Trouble, Le Vrai Spectacle: Queering the French/Frenching the Queer
Irit Degani-Raz Tel Aviv UniversityGiotto, Proust, Beckett: An InterArt Evolutionary Visual Thinking
Svetlana Antropova Centro Universitario VillanuevaThe Language of Trauma: Not I and A Piece of Monologue
Véronique Védrenne Osaka UniversityFrom the Eto the Process of the Camera Obscura
Nicholas Johnson Trinity College DublinNew Pathways of Practice in the Samuel Beckett Laboratory
Elizabeth Barry University of WarwickBeckett, Medicine and the Mind
Friday 26th 9:00 am - 12:00 pmFriday 26th 9:00 am - 12:00 pm 8584
General Panel 9
12:30 pm – 2:00 pm
GP.WGS-37: Intermediality in Theatre and Performance
Room: Teatre Estudi
GP.CUR-26: Re-routing Religion in Performance
Room: Plató
GP-3: Paths for Universitiy Theatre Room: Auditorium
GP-12: Lisbon Popular Theatre Through the Ages (EN/FR)
Room: P3.S2
GP-19: From Political Performance to Politics as Performance (EN/FR)
Room: S4.S7
GP-52: Approaches to Participatory Performance
Room: P2.S5
GP-60: Re-Presenting Historical Aproaches (EN/FR)
Chair: Sílvia Ferrando
Antoni Galmes University of BarcelonaPresent and Future Prospects for the Catalan University Theatre in Catalonia and the Spanish State in Relation with their International Counterparts
Juan Arturo Rubio Universidad Antonio de NebrijaSpanish Experiences in Final Year Dissertation (FYD) of Degrees of Performing Arts: An Analysis in the Frame of the European Higher Education Area
Margarida Torres University of CoimbraThe Paths of University Theatre: The Portuguese Case
Chair: Claudia Oliveira
Rita Delgado Martins University of Lisbon, Centre for Theatre StudiesLe Théâtre du Bairro Alto au XVIIIe siècle: Une Affaire Politique, Un Projet Commercial
Paula Magalhães University of Lisbon, Centre for Theatre StudiesTracking Down and Rewriting the Portuguese Fairground Theatre History
Joana Soares Vieira University of Lisbon, Centre for Theatre StudiesFrom Capital to Province: Nobels and Critics in 1950s Portugal
Chair: Paola Botham
Francisco Albornoz Pontificia Universidad Católica de ChileAesthetics of the Performative. Politics and Social Movements: Chile and the People on the Streets
Alexandra Kolb Middlesex UniversityCurrent Paths in Contemporary Dance: Rethinking the Political
Inés Stranger Pontificia Universidad Católica de ChileLe Parcours du Teatro del Silencio: La Conquête de l’Espace Publique Post-dictatorial
Chair: Rosemary Klich
Esther Belvis ArteaAccounting Embodied and Transnational Experiences
Paul Clarke University of BristolPractices of Profanation: Uninvited Guests’ Make Better Please
Joonas Lahtinen University of HelsinkiRe-routing Participative Performance: On the Parameters of Community, Democracy and Politics in the Complaints Choir Project
Chair: Jan Clarke
Clare Foster Cambridge UniversityAdaptation and the History of the Authentic Dramatic Text
What Now for Intermediality?
Our panel explores the genealogy of “intermediality,” a term that came into wider use in the last decade of the twentieth century and first decade of the new millennium. It examines what is meant by an intermedial approach or perspective with regard to theatre and performance, and considers the signal features of intermediality both as a model of artistic production and a critical intervention. It considers the next steps for performance practice and scholar-ship, as we move further into a cultural scene in which intermedial becomes commonplace. The panel reflects not only on its own work over the years at a moment of redefinition) but on what this work means or could mean in a changing landscape of cultural production and critical discourse.
Chair: Robin Nelson
Andy Lavender University of SurreyFeeling Engaged: Intermedial Mise en Sensibilité
Sigrid Merx Utrecht UniversityFrom “In-Between” to “Node”: Shifting Conceptions of Intermediality
Ralf RemshardtUniversity of FloridaReading the Fevered Dreams of Acid Monks: Empirical Explorations in Intermediality
Re-Routing Religion in Performance
This panel looks at the “routes” of religion in relation to state performances and to staging a politics of resistance, interrogating how religion has been in-strumentalised in several contexts inIndiaand the Balkans. These papers are part of a JNU/Warwick collaboration on comparative politics and perform-ance.
Chair: Janelle Reinelt
Silvija Jestrovic University of WarwickRe-routing Religion: Multicultural Subconscious of Sarajevo
Milija Gluhovic University of WarwickSexual Democracy, Queer Publics and the Limits of Religious Tolerance in (Eastern) Europe
Ameet Parameswaran Jawaharlal Nehru University / Ambedkar Univer-sityRitualized Acts, Discipline and Citizenship: The Performative Link of Secular and Sacred in Post-Nehruvian Period
Friday 26th 12:30 pm - 2:00 pmFriday 26th 12:30 pm - 2:00 pm 8786
Room: S4.S9
GP-74: Regional Theatres of India
Room: S4.S4
GP-80: Re-Routing Children’sTheatre and the Playful
Room: Flamenco Room
General Panel 10
12:30 pm – 2:00 pm
GP-2: Méthodes pour la Formation d’Acteurs (EN/FR)
Room: P2.S4
GP-15: Re-Maping Cities
Room: Flamenco Room
GP-26: Analyzing Play Texts
Room: P2.S5
GP-44: Migrants Identities
Room: Plató
GP-65: Laughter, Tedium and Healing
Room: P3.S2
GP-71: Views on Indian Traditions
Room: Teatre Estudi
Chair: Maria Delgado
Gigi (L A) Argyropoulou Roehampton UniversityCity Maps: Performing the Immaterial, Remaking the Public. Performance Practices in between Actuality and Utopia
Rebecca Free Goucher CollegeThe Streets Have No Names: Routing and Durationality in Contemporary Marseille Theatre
Bianca Michaels LMU- Ludwig-Maximilians UniversityRemapping the City: Re-Routing the Institution. Theatres in Search of New Relevance
Chair: Michael Bennett
Silvia Ferrando Luquin Institut del TeatreTheatre and Revolution in the Work of Albert Camus, Heiner Müller and Caryl Churchill
Maho Hidaka Kyoto Women’s UniversityTracing the Roots and Routes of the Performative Reception of Oscar Wilde
Chair: Julia Boll
Cynthia Ashperger Ryerson UniversityExiles, Outsiders, Immigrants and Foreign Accents: Who Can Sound Differently on Toronto Stages and Why?
A. Gabriela Ramis Indiana University South BendOne Journey, Many Pathways: César Brie and the Gaze of an Emigrant
Pieter Verstraete Sabanci University / University of ExeterTurkish Post-Migrant Theatre in Europe: Routes vs. Roots in a Growing Transnational Network
Chair: Nicola Shaughnessy
Margaret Gill University of West IndiesLaughter and the Barbadian Theater Audience
Loren Kruger University of ChicagoRe-routing Tedium: Translation, Theory and Performance
Liana Vella Cultural Association “Multiker. Le molte creativitá” / R.I.A.S.: International network of Applied Arts and HealthcareR.I.A.S: The “Creative Care Performer” in a New International Network of Applied Arts, Healthcare and Resilience
Chair: Ravi Chaturvedi
David Hammerbeck Nazarbayev UniversityThe Burning Widow: The French Theatrical Imagination and India
Antonio Alberto Gómez Pérez Institut del TeatreRemarcher le Passé: Reconstitution Historique et Innovation Scénique
Proshot Kalami Independent scholarPersians on the Stage: The Roots and the Background of Performance Cultures within the Larger Persianate World; A Historical Approach
Chair: Boris Daussà-Pastor
Ravi Chaturvedi Central University of RajasthanRe-Mapping the New Routes: The Case of Mobile Theatre of Assam
Sharmila Chhotaray Tripura UniversityJatra Theatre as a Culture Industry: The Cultural Economy of Folk Popular Theatre of Eastern India
Najundappa Mamatha University of MysoreDrama schools in Karnataka: A Comparative Analysis of Skill and Ideology
Venkatappa Nagesha Bangalore UniversityAn Anthropology of the Traveling Theatre Troupes in Karnataka
Chair: Victor Emeljanow
Nagla al-Hadidy Cairo UniversityTime Travelling with the Egyptian Child: A Study of Two Plays for Children
Felicia Owusu-Ansah University of GhanaIndigenous Approach to Invisible Theatre: The Case Of Traditional Asante Games
Isabel Pinto University of Lisbon, Centre for Theatre StudiesChildren’s Theatre: A Performance of its Own
Chair: Agustí Ros
Pau Cirer Ferra Universitat Autònoma de BarcelonaThe Mask in Actor Pedagogy: Types of Mask and Pedagogical Transversality
Neus Fernández Institut del TeatreMéthode en Évolution, La Rythmique Dalcroze: Histoire et Actualité de la Formation Musicale pour les Arts Scéniques à l’Institut del Teatre
Andrea Ubal Pontificia Universidad Católica de ChileLa Formation d’Acteurs à Travers les Routes de la Mémoire: Une Expérience d’Apprentissage en Jeu (la Vie) et la Création
Friday 26th 12:30 pm - 2:00 pmFriday 26th 12:30 pm - 2:00 pm 8988
GP-77: Theatre or Not? Dramaturgies of the Real
Room: S4.S7
GP-83: Social And Digital Platforms as Performative Tools
Room: S4.S4
Monday 22nd
2:00 pm - 3:30 pm
New Scholars Workshop 1
Room: P2.S4 Jean Graham-Jones
Room: P2.S5Elaine Aston
3:30 pm - 5:00 pm
Opening Ceremony
Room: Teatre Lliure (Sala Fabià Puigserver)
7:00 pm - 8.30 pm
Opening Reception
Room: Teatre Lliure (Main Foyer and Terrace)
Workshop on Journal PublishingThis workshop is for New Scholars who would like to learn about publishing journal articles. An introduction to getting published in international theatre journals will be presented by Elaine Aston and Jean Graham-Jones, including advice on choosing a journal, writing abstracts & articles, and understanding the processes of article submission, peer reviewing and editing. The second half of the session will consist of an interactive forum providing an opportunity for participants to raise questions and discuss ideas for publication.
Workshop participants will be provided with free sandiwiches and bever-ages.
This Opening Ceremony will provide a an introduction to the Conference theme as well as some insight into the context of Catalan Theatre. It is also the chance for IFTR to welcome all delegates and make some announcements, including prize winners for this year. The Ceremony is open to all IFTR mem-bers, and will also count with the presence of Institut del Teatre’s Director as well as local and regional political authorities.
Free and Open to all FIRT/IFTR participants
Manpreet Kaur Delhi University, St. Stephen’s College“O brother, Jugni speaks”: Listening the text and context of Jugni
Sathya Bhama Madathil National School of DramaSpace, Body, and Design in the Ritual Practice of Theyyam
Chair: Stuart Andrews
Sílvia Fernandes Telesi University of São PauloLes Théâtres du Réel: Les Expériences du Teatro da Vertigem sur la Scène Brésilienne Contemporaine
Christina Schmutz UAB, Universitat Autònoma de BarcelonaStand-up-and-speak vol.1 – 20 Minutes of Fame: The Politics of Post-Spectaculary Theatre
Frithwin Wagner-Lippok Institut del TeatreStand-up-and-speak vol.2 – The Political Turn in Performing Arts
Chair: Hellen Richardson
Alexander Jackob University of AmsterdamKati Röttger University of AmsterdamPerforming Trans/ATLA/antic Knowledge S/treams
Patrick Lonergan National University of Ireland, GalwaySocial Media in Contemporary Theatre / Social Media as Contemporary Theatre
Rachel Kinsman Steck Willamette UniversityPerformance Unplugged
Other Academic ActivitiesReceptions and Meetings
Other Academic ActivitiesFriday 26th 12:30 pm - 2:00 pm 9190
Tuesday 23rd
2:00 pm - 3:30 pm
Working GroupsConveners Meeting
Room: S4.S3
2:00 pm - 3:30 pm
New Scholars Reception
Room: Scenography Workshop
Wednesday 24th
5:30 pm - 7:00 pm
New Scholars Workshop 2
Room: Flamenco RoomMaria Delgado
Thursday 25th
5:30 pm - 7:00 pm
New ScholarsCaucus Meeting
Room: P2.S4
Friday 26th
5:30 pm - 7:00 pm
Closing Ceremony
Room: Mercat de les Flors (Sala MAC)
Conference Summary and Wrap-up Session, and Presentation of next year’s Conference.
Bussiness Meeting for Conveners of all Working GroupsSandwiches and drinks will be served
Open to New Scholars and Student Members of FIRT/IFTRFood and drinks will be served
The Practices and Politics of EditingFor many editing is simply spell-checking, the correction of grammar and the odd bit of tweaking but the art of editing is one that shapes writing in large-ly unrecognized ways. While looking at the role of editors in both book and journal publishing, this workshop will discuss the practices and the politics of editing. What does an editor do? What role do editors play in our discipline? How does an editor guide and shape work? Why is so much editorial work ‘in-visible’? How does editorial consciousness develop? In what ways do we edit our own writing? Led by Professor Maria Delgado (Queen Mary University of London), winner of this year’s ATHE Excellence in Editing Award, this work-shop will look at how editing can be a process of revision and refinement and a creative (and highly proactive) engagement with our ideas and our discipline.Preparatory Reading: Susan Bell, The Artful Edit (New York: WW Norton & Company, 2008) pp. 182-217.
Meeting open to New Scholars and Student Members of FIRT/IFTR
Other Academic ActivitiesOther Academic Activities 9392
94
Book Launch
12:00 pm - 12:30 pm(during Coffee Break)
Room : Foyer of Ovidi Montllor Theatre (above Cafeteria)
Monday 22nd
Institut del Teatre Publications
Tuesday 23rd
Cambridge Journals
Publications Display
Invitation to view a sample of publications issued by the Institute of Theatre exhibited in the foyer of the theatre Ovidi Montllor
Since its inception in 1920, Edicions de l’Institut del Teatre publishing activity wanted to cover significant gaps in the publishing Catalan landscape regarding the performing arts. Our publications cover the needs of Institut del Teatre’s students and faculty, as well as those of Universities, secondary schools, professionals in the field and aficionados. We deal rigorously with all theoretical and historical aspects, in addition to providing publications for general audiences.
We have issued over 500 titles in almost a hundred years, many of them unavailble in Spanish before. This broad portfolio meets a wide range of theo-retical, historical and informative works. Our wide range of products includes creative edited works, such as a book-object in piano’s shape about the avant-gard music artist Carles Santos. The current collections include Theoretical Essays, Classical Theatre Texts, Pedagogical Materials and special books. We also publish an academic journal, Estudis Escènics (Performing Arts Studies), which in its new phase will be published online and in hard copy on request.
Theatre Research International “Meet the Editors” Session
TRI Editors Charlotte Canning and Paul Rae will be available to discuss possible submissions and any other journal related issues, and to answer more general questions on preparing and submitting journal articles in English.
Additional ActivitiesDuring Conference
Additional Activities95
Wednesday 24th
Winchester University Press
Wednesday 24
Rodopi
Thursday 25th
12:00 pm – 12:30 pm
Institut del Teatre Publications
WG-SponsoredActivities
Sunday 21st
WG-Performance and Disability
03:00 pm – 06:00 pmplease arrive early, space is limited
Outside location:ONCE Catalunyac/ Sepúlveda nº 1Barcelona 08015
Monday 22nd
WG-Intermediality
12:30 pm - 1:00 pm
Room: Teatre EstudiFree Admission
icated musicians dedicated to playing live music wherever needed. Thus, one of the main qualities of these musicians must be versatility and adaptability.
For this work, we decided to engage in a collective effort seeking the co-operation of a number of musicians from our institution, with advice from several of our dance teachers. We structured the project along the lines of the three dance specialitites taught at IT, and I designed profesional musicians with long careers both inside and outside IT for each of them: Robert Iniesta for Classical Dance, Xavi Algans for Contemporary Dance, and Rafa Plana for Spanish Dance. We installed a piano at IT’s Teatre Estudi and, for a week, my colleagues came down to play on a regular basis.
We worked on our own compositions as well as on those of great maestros, al-ways bearing in mind that dance music has to be an organic part of the movement rather than focus solely on musical matters. Musical editing is currently at a tech-nical level that allows erasing any trace of errors or wrong notes. We preferred keeping the lively energy of music, and so that’s what we have done: live music.
Performance and Disability in Spain
Roundtable with Spanish artists including: Nadia Adame (dance and theatre), Jordi Cortés (dance), Marta Frauca (theatre), Eva García (theatre), Gloria Ro-gnoni (theatre). Moderated by Yvonne Schmidt.
For questions, please contact Mark Swetz: [email protected] Artists’ biog-raphies and more information can be found on http://performancedisability.tumblr.com/
Sponsored by the Performance and Disability Working Group of IFTR and hosted in collaboration with ONCE Catalunya. The venue is fully accessible; please notify Mark Swetz if you have any specific access needs.
The event will be in English, Spanish and Catalan; with English transla-tion.
Sistematurgy
Demonstration of the renowned Catalan performer Marcel·lí Antúnez with his exoskeleton and ventriloquist head. Marcel·lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechanotronic performances and robotic installations. http://marceliantunez.com
Book launch and drinks receptionMediating Practice(s): Performance as Research and/in/through Mediation
Winchester University Press and the Royal Conservatoire of Scotland invite you to join us for a celebration of the launch of the third collection in an innovative, open access, free-to-user publication series, Experiments and Intensities.
Mediating Practice(s): Performance as Research and/in/through Mediation curated-edited by Bruce Barton (University of Toronto), Melanie Dreyer-Lude (Cornell University) and Anna Birch (Royal Conservatoire of Scotland) ISBN 978-1-906113-12-4 available at www.experimentsansdintensities.com
The collection emerged from the 2012 encounter of the Performance as Research Working Group of the IFTR in Santiago da Chile. This is a nested exploration of selected theories and practices of the ways mediation - includ-ing easy-to-access handheld technologies—intertwines itself with, around and against compositional process in performance. From finding cows in small town Germany, to discovering historical British women’s emancipation on the lawn with Wollstonecraft, through to performing alongside a persistent juniper near Helsinki, the volume also explores important conversations that prob-lematise key challenges in writing (about) Performance as Research (PaR).
Please come and celebrate with us this new publication format, whose po-tential the working group will further develop in future years.
The Legacy of Opera: Reading Music Theatre as Experi-ence and PerformanceMusic Theatre Working Group
Themes in Theatre: Collective Approaches to Theatre and Performance
The series Themes in Theatre is published in association with the Inter-national Federation for Theatre Research/Fédération Internationale pour la Recherche Théâtrale and provides a publishing environment for collec-tive work by its members. Monographs are not considered for this series; it aims at volumes that are characterised by a high level of interconnected-ness—each author clearly contributing to a central subject within the field of theatre and performance. The fact that the multiple authors will have discussed the subject and their contributions among each other not only ensures a high level of consistency within each volume but also results in a gamut of approaches and perspectives that nevertheless are centrally focused. As such the series reflects contemporary issues and current scholarship within international theatre studies. Its main contributors are the working groups of the FIRT/IFTR consisting of specialists working on diverse subjects at the forefront of theatre research. Therefore Themes in Theatre is not limited to any specific ‘”ism,” theatre genre, approach or methodology. As long as aca-demic standards are met and the collectivity of the work is ensured we wel-come historical, critical, theoretical, analytical or other subjects that are related to the theatrical arts. However, the set-up of the series is such that it explic-itly furthers interdisciplinary work and reflection on concepts and methods. For information on the FIRT/IFTR, its working groups and yearly conferences, please see the website: http://www.firt-iftr.org/firt/site/index.jsp
Music For Dance ClassesCD Launch
Institut del Teatre is a century-old institution with several schools dedicated to the performing arts. Its staff includes almost thirty professional musicians ded-
Additional Activities Additional Activities96 97
WG-Music Theatre
12:00 pm – 12:30 pm
Room: Lateral Foyer Theatre Ovidi Montllor
Wedenesday 24th
WG-Performance as Research
12:00 pm – 12:30 pm
Room: Lateral Foyer Theatre Ovidi Montllor
Tuesday 23rd & Wednesday 24th
9:30 pm
Outside location:Nau Ivanow (Espai 30)c/ Honduras nº 28-30<M> Sagrera
Friday 26th
WG-Asian Theatre
10:00 am – 12:00 pm
Room: Teatre EstudiFree Admission
MAE Visits
Monday 22nd
8:00 pm – 8:30 pm
Room: Atrium
Tuesday 23rd
7:00 pm – 8:00 pm
Room: Atrium
We are happy to announce that we are opening an informal space for short pieces and presentations during the FIRT/IFTR Conference in Barcelona. This space, called OPEN MIC, offers the possibility of showing additional aspects of your work. Conference participants, as well as local artists and students are welcome to present proposals.
There are two parallel stages for OPEN MIC presentations. One is at Tea-tre Estudi, an indoor stage, and the other is an outdoor stage located at the Atrium.
Open Mic Music Programme
Institut del Teatre musicians demonstration
José Vicente PestanaPoor wilting women. The last meeting between the Mother and the Bride in Lorca’s Blood Wedding (1933) states, among other things, a struggle among passion, guilt, repentance and redemption. Drawing from these themes, a sample of the creative process for an approach to this excerpt (for a lone per-former) is shared.
James WilsonYou Know How I Feel. Teaser of a piece where James Wilson tries to perform the father he never knew.
Eirini KartsakiWords to say. Performative presentation that questions the processes of making and unmaking (sense, meaning, text) as inherent in the process of reading.
Natália da Silva PérezFirst Dream. Mini-workshop of Sor Juana Inés de la Cruz’s poem Primero Sueño. Little pieces of paper with random short passages of the poem will be
Book Launch. Presentation of the book
The Legacy of Opera:Reading Music Theatre as Experience and Performance, by Pamela Karantonis
(See more information in the section BOOK LAUNCH)
Book launch, Presentation publications and drinks reception
Anna Birch, from the Royal Conservatoire of Scotland, and Winchester Uni-versity Press invite you to join us for a celebration of the launch of the third collection in an innovative, open access, free-to-user publication series, Experi-ments and Intensities.
(See more information in the section BOOK LAUNCH)
Barca: el otro lado
Using the historic events of 1492 as a reference point, Barca: el otro lado is part of an international performance project choreographed and directed by Henry Daniel involving dancers, musicians, and media artists in Canada and Catalo-nia. The title deliberately uses the city of Barcelona as a vehicle, a barca, for new cross-Atlantic voyages of discovery and understanding, connecting to Vancouver, Canada, at the edge of the Pacific.
Ticket price: 10€ for FIRT participants and associates to Nau Ivanow, with accreditation (regular prize: 12€). Reservations: [email protected] (please in-dicate number of tickets, performance day and discount type).
Screening of the film Sado Tempest, a radical reworking of The Tempest by John Williams, shot on Sado Island (an island renowned for its tradition of exile of dissidents). Film in Japanese with English subtitles. Featuring several famous Japanese actors. The film has played at the Raindance Film Festival and has been selected for other festivals in the US, Europe, Latin America and Asian.
We provide restricte visits—ten people maximum per session—to discover our performing archive and museum during the Conference. The visits will be done during the times of the Lunch Break. For interested, please contact our mail: [email protected]
Open Mic
Additional Activities Open Mic98 99
Tuesday 23rd
7:00 pm – 8:00 pm
Room: Teatre Estudi
Thursday 25th
7:00 pm – 8:00 pm
Room: Atrium
Thursday 25th
7:00 pm – 8:00 pm
Room: Teatre Estudi
Friday 26th
7:00 pm – 8:00 pm
Room: Atrium
Orestes Pérez EstanqueroOrestes [Ὀρέστης]. Transfers of positions and scenic transfer map of contempo-rany forms of Cuban and Catalan radical plays to Orestes by A&PE.
Esther GouarnéStep-Crisis. The struggle of a well-trained body pushing its limits back during an intensive step-choreography, while reading at loud in a microphone key-sentences of James Hansen’s speech “Why I must talk about Climate change” and of Peter Sloterdijk’s essay You Must Change your Life translated in differ-ent languages.
Cristina CorderoPresentation of Dido&Aeneas Reloaded: A contemporary opera.
Juanjo CuestaBye Bye Iran: A Collective Creation. This is a performance as research, devel-oped in the context of the doctoral thesis of Juanjo Cuesta. A work of theat-rical creation based on the graphic novel by Iranian artist Marjane Satrapi, Persepolis.
Olga Santín Twombly y el Canto de las Ballenas. Dance performance based on sensation and its levels; forces, relations between rhythm and sense.
Yulia ArakelyanUnderneath is the latest producion of Wobbly Dance. Filmed footage from live performances will be shown.
Ola JohnsonPresentation of the ArtsCross Festival Leaving Home: Being Elsewhere in Lon-don.
Andreu RaichEpiphanies of the Body. Dynamics of body training based on dance Afro-Brazil-ian, specifically Brazilian Candomblé. Through this training, performers try to perceive, capture and generate certain qualities of stage presence.
Cristina Arenas & Andrea MartínezWK. Two girls. They don’t know who they are, or what are they doing here. Questions without answers and answers without questions of a non defined, but familiar, woman.
Marijo Alonso & Glòria San MiguelWork in progress dance piece that explores the essence of the dancer’s desire to express with the body.
Göze SanerTaking a Step, Crossing a Line: A Work Demonstration. A (psycho)physical exploration of what it means to lift one foot and send it away, to place it else-where, somewhere else, somewhere in front or perhaps to the side, but defi-nitely (far, far) away from where it had been.
Donnell WilliamsMovement piece that is a solo adaptation of a dance trio number. The perform-ance explores the business of sexualities trapped in a singular body.
distributed to people in the audience, and then invite them to come on the stage and record their voices.
André GardelThree songs of his new album.
Sophie ProustGénétique du Théâtre: les Processus de CréationLe projet APC (Analyse des processus de création) est financé en France par le Conseil régional du Nord-Pas de Calais et l’université Lille 3 (Conseil sci-entifique, CEAC et Action Culture). Avec une approche pluridisciplinaire (ar-tistique, historique, sociologique, économique, culturelle et juridique), APC développe quatre axes de recherche : métier et formation du metteur en scène ; notation du processus de création ; mise en scène et droits d’auteur ; archivage et patrimoine de la création théâtrale. Sophie Proust en est la responsable sci-entifique.
Marcel·lí AntúnezSistematurgy presentation.
Mark EdwardDocumentary of the making of the movie Council House Movie Star. This foot-age filmed by Homotopia TV gives insight into the behind the scenes of the film providing interviews with the producer, drag queen performers, film di-rector and film set designers.
Proshot KalamiIs the documenting camera lucida?. Documenting the other: cultural performance as practice of everday life. Short film based on street performances of the Baul —a particular South Asian Sufi sect—enthusiast communities in rural parts of Bangladesh. Thereby, I question the authority of the documenting camera, versus the subjectivity of the performer.
Sofia VarinoChronocurpus. Presentation of an ongoig performance based digital installa-tion by Harmattan Theater, an NYC based environmental theater company interested in the artistic implications of diasporic histories and global climate change on urban spaces
Clarisse BardiotRekall Software presentation. An open-source environment for documenting, analyzing the creative process and simplify the recovery works.
Isabel PintoAs time goes mine. Different theatrical discourses, plays from the 18th century and memories written by actors in the 19th century, are crossed to unfold the contrast and dialogue produced by the alternate reading of these texts, a cal-ligraphic choreography will punctuate statements, understatements, doubts, open questions, etc.
María Fernández VázquezGesto 0.0. Short performance art piece where the paper, the body, the draw, the action are in the same level. Draw, action, and installation are confused in their own limits.
Open Mic Open Mic100 101
Friday 26th
7:00 pm – 8:00 pm
Room: Teatre Estudi
Càpsula Scanner
Wednesday 24th
7:00pm
Room: Teatre Lliure(Sala Fabià Puigserver)
Free of charge registration required)
Farewell Party
Thursday 25th
8:15 pm : 12:30 am
Venue: Sala Oval, MNAC
Conversation with Àlex Ollé and Carlus PadrissaSpanish with simulataneous English translation
SCANNER is Institut del Teatre’s forum for discussion of innovation and re-search in performing arts, started by the late professor Jaume Melendres in 2008. Coinciding with the IFTR Conference, we will offer a sample of its spirit in the form of CÀPSULA SCANNER. CÀPSULA SCANNER presents an in-sight into the oeuvre and working methods of Àlex Ollé and Carlus Padrissa, founders of the theatre Group La Fura dels Baus, the most International com-pany in Catalonia and Spain. This event will be structured as an open conversa-tion moderated by Mercè Saumell.
Since 1979, early productions by La Fura integrated neo-primitivism and ritual with the most sophisticated technology. After their success in directing the Opening Ceremony of Barcelona’s Olympic Games in 1992, Àlex Ollé and Carlus Padrissa began a career in opera stage direction with an innova-tive vision. Their opera career has developped as a team and independently, premiering productions at Salzburg Festival, La Monnaie of Brussels, Garnier et Bastille in Paris, La Scala in Milano, Sydney Opera House, Teatro Colón in Buenos Aires, London’s ENO, Bavarian State Opera in Munich, the renovated Bolshoi in Moscow and, of course, Barcelona’s Liceu and Madrid’s Teatro Real. They are among the top-ten international opera directors and have received numerous awards for their work in this regard.
The Farewell Party will be held at the National Museum of Art of Catalonia (MNAC), which is housed in a large italian-style building. This buffet dinner will take place in the magnificent Oval Hall, built in 1929 and remodeled in 2004 by Italian architect Gae Aulenti. Located in Montjuïc, close to Institut del Teatre, this building was the main seat of Barcelona’s International Exhibition of 1929. MNAC is particularly notable for its outstanding collection of Romanesque church paintings, unique in Europe, and also for its Gothic, Renaissance and Ba-roque Art Collection.We will start the reception in MNAC’s terrace, with a priv-iledged view of the Magic Fountain and Barcelona in the background. We will have a welcome drink while enjoying the Magic Fountain audiovisual watershow created by Carles Buïgas, who originally devised in 1929 this engineered form of entertainment that plays with the shapes and colors of water. The now renovated fountain is a popular summer attraction that illuminates and refreshes viewers.
Kristin Arnesen-KonopkaLolita at Yoshiwara, a short cabaret act. “Her name is Lolita … and uh… She’s not supposed to…play… with boys!” A short, hot, charmingly ridicu-lous anti-cabaret by Brooklyn-based interdisciplinary company Theatre Re-verb.
Shimon LevyHow to deal with Old Testament Chapters as Theatre. The piece chosen for the exercise/show is The Initiation of the Prophet Samuel, (first book of Samuel, Ch. 3, verses 1-10) which will first be read, then theatrically explained and then performed.
Fawzia Afzal-KhanMelody Queen to the Muslim Madonnas: Pakistani Female Singers 1947-Present. Preview of a documentary feature about Pakistani Female Singers.
Juliana CoelhoCrossing Stories around Balinese Experience. A short video where some artists tell their meeting with balinese performance forms. This encounter is marked by an intercultural astonishment
Virginie MagnatPresentation of the international research project Meetings with Remarkable Women explores the artistic journeys and current creative practices of women from different cultures and generations who worked with Grotowski during the theatrical and post-theatrical periods of his cross-cultural investigation of performance.
Frithwin Wagner-Lippok & Christina Schmutz How to Be Political When the Battery is Flat?. Two short performances inspired by the question of content/form of political theatre on the actual backdrop of real social change.
Social Programme
Open Mic Social Programme102 103
A few of the most valuable exhibition rooms of MNAC will be exception-ally open for us, and we will be able to visit them leisurely before dinner. The transition into the Oval Room will unveil a buffet dinner made of a variety of tapas (small bites), highlighting traditional and innovative Catalan delicades, and a range of options meant for all needs and tastes.
Huellas XL
Two genres, jazz and flamenco, are fused on stage to demonstrate that talent can overcome musical frontiers. A score of musicians join forces for a live perform-ance of an absolute masterpiece. Not by chance did such a prestigious body as the French Jazz Academy award Jorge Pardo the prize for best European Jazz Musician. This accolade testifies to the musical ability and wisdom of an artist who has taken his blend of jazz, flamenco and other sounds to venues around the world. The orchestral arrangements on one of Pardo’s recent albums, Huel-las, and the presence on stage of a large ensemble including the Original Jazz Orquestra del Taller de Músics, conducted by David Pastor, turn this concert into a great musical spectacle featuring a range of instruments: guitar, palmas and cajón, as well as a brass section, marimba and double bass.
Madama Butterfly
Madama Butterfly (Milan, 1904) tells the harrowing tale of Butterfly (Cio-Cio-San), a geisha in Nagasaki, who trusts blindly in the love of a cynical American naval officer, Pinkerton. But after marrying her under a Japanese law that al-lows the wife to be repudiated, Pinkerton goes home to America. When But-terfly discovers that the man she loves has come back with his American wife and wants to take charge of the son she bore him after his departure, she puts an end to her western dream and commits hara-kiri. The focus is on Butterfly — her admirable capacity for love and her delicacy – while the music , with its touches of refined exoticism, suits her fragile and sensitive character to a tee. Opera in three acts. Libretto by Giuseppe Giacosa and Luigi Illica based on the play of the same title by David Belasco. Music by Gioacomo Puccini. First performed at the Teatro alla Scala in Milan on 17 February 1904. New version premiered at the Teatro Grande in Brescia on 28 May 1904. First performance at the Gran Teatre del Liceu on 10 December 1909.
La Flauta Màgica – Variacions Dei Furbi
Companyia Dei Furbi, an acclaimed catalan theatre company with a particular playful aesthetic based in its commedia dell’arte roots, takes the challenge of versioning an opera for a troup of six actors singing a capella. Mozart’s The Magic Flute is a great symbolic fiction that culminates with a hymn of universal fraternity. “Mozart tells us in a very neat and precise manner that it is through the power of music (and art) that the characters will be able to overcome with joy the darkness of their fear.” Companyia Dei Furbi takes up this idea and syn-thesizes Mozart’s opera, using this concept as the thread that weaves a story. In this rendering, the essential nature of the Good and Evil can only be seen in a symbolic way and also as the background that helps us understand the choices that the characters make. These creatures in “search of light” become uncanny reflections of ourselves and our contemporary desires. Nevertheless, this inter-pretation comes spiced with Dei Furbi’s usual dose of humour and playfulness. Boris Daussà-Pastor is the Assistant Director and Assistant Movement Direc-tor of this show, integrating some of his expertise in movement and Kathakali into the visual world of this production.
Outings
Monday 22nd
10:00 pm
Venue: Teatre Grec
Tuesday 23rd Wednesday 24th
8:00 pm
Venue: Gran Teatre del Liceu
Tuesday 23rd
9:00 pm
Venue: La Seca
28 i mig
The sea reaches the Library, and it brings a collections of unusual characters. Inside a kitchen, a man and a woman talk about how we are all prisoners of the facts that surround us and how we are reality comes to happen. They speak as if they were inside an italian neorealist film, they speak loudly and gesticulate but they look into each other with passion. On top of that, a chinese story, a tale of yore that tells us that it is possible to escape time and travel with dreams and imagination, with enthusiasm, towards these places that appear to us as paradise. The seamen who give their lives every morning they go out to the sea. A film director in the middle of a creative crisis who abandons his almost-finished movie. Everything is still only half way done, always dreaming of going further to achieve what we want. A show based on texts by Fellini, De Filippo, Vicent Andrés Estellés, Papasseit, Espriu, and other writers still to be discovered.
El rei de la soledat
He found himself surrounded by pieces. Nothing really made sense. Whole-ness did not exist by itself, since there was always one important piece miss-ing. A small portrait of a person in a realm that brings questions and gives no answers. A realme a tad too mechanic to be real. A realm a bit too sordid to be imagined. A conflict between these two worlds, and finally, redemption. Deconstruct and then reconstruct the objects that are to be manipulated. Im-povising and playing with chance, writing images and theatricalizing words, creating tiny landscapes of forgotten corners, projecting our memories, paint-ing our surroundings. El rei de la soledat is a show without words.
These tours are organized by Viatges Abreu
Sun July 21st Gothic Quarter, the heart of BarcelonaSun July 21st Sitges, Modernist dreamSun July 21st Montserrat, the Holy MountainSat July 27th Figueres and Cadaqués, Dalí and Lorca MemoriesSat July 27th Roman TarragonaSat July 27th Catalonia, land of cava and wineSat July 27th Modernist BarcelonaSun July 28th Girona, Jewish heritage + EmpúriesSun July 28th Sitges, Modernist dreamSun July 28th Gothic Quarter, the heart of Barcelona
www.firt2013barcelona.org/coference-programme/social-programme/excusions
Tuesday 23rd
8:30 pm
Venue: Biblioteca de Catalunya
Wednesday 24th
10:00 pm
Venue: La Seca
Excursions
Social ProgrammeSocial Programme 105104
Accessibility and Health Care
Our building is fully accessible to disabled people through elevators or ramps. Also Teatre Lliure and Mercat de les Flors have facilities prepared for access to people with wheelchairs.
Throughout the Congress, in the immediate vicinity of the Institute del Teatre, will be located an ambulance for a medical emergency. For minor in-cidents, the Theatre Institute has a small clinic room on the 5th floor where there are beds, medical supplies and a first aid kit. This device is also serving congressmen throughout the week.
Location Map
Address Institut del Teatre. Plaça Margarida Xirgu, s/n. 08004 BarcelonaAccess from Carrer de la França Xica, 26Also acsessible from Carrer de Lleida, 59
Phone (34) 932 273 900
Metro<M> L3 Poble Sec Station (exit by Av. del Paral·lel). 5 minutes walking<M> L3 & L2 Paral·lel Station. 15 minutes in motorized wheelchair<M> L1 Espanya Station (exit by Av. Reina Maria Cristina). 15 minutes walking<M> L1 Rocafort Station. 10 minutes in motorized wheelchair
Bus (all buses adapted for people with reduced mobility)Line 55. Bus stop França Xica – Grasses. 2 minutes walkingLine 121. Bus stop França Xica – Grasses. 2 minutes walking
106
Practical Info
Practical Info107
Acc
es fr
omC
/ de
Lle
ida
Acc
es fr
omC
/ de
la F
ranç
a X
ica
Practical InfoPractical Info 109108
Acc
essi
bilit
yW
ay fr
om R
ocaf
ort s
tatio
n <M
> L1
Way
from
Pob
le S
ec s
tatio
n <M
> L3
S4.S
9S4
.S8
S4.S
6
S4.S
7
S4.S
5S4
.S4
S4.S
3S4
.S2
Floo
r -4
Practical InfoPractical Info 111110
Scen
ogra
phy
Wor
ksho
p
Scan
ner
Plat
ó
Flam
enco
Ro
om
Teat
re E
stud
i
Puppetry Room
Floo
r -2
Atr
ium
Caf
eter
ia
Coffee Break
Floo
r 0
Practical InfoPractical Info 113112
Nap
Roo
m
Aud
itoriu
m
Floo
r 1
P2.S
6P2
.S5
Com
pute
r Ro
omC
ompu
ter
Room
P2.S
4
Floo
r 2
Aud
itoriu
m
Practical InfoPractical Info 115114
P4.S
4P4
.S3
P4.S
2P4
.S1
P4.S
5
Floo
r 4
P3.S
3P3
.S2
P3.S
1
Floo
r 3
City of Theatre(Teatre Lliure and Mercat de les Flors)
We are located in LA CIUTAT DEL TEATRE (City of Theatre), which con-sists of three theatre venues in the surroundings of the Plaça Margarita Xirgu: Mercat de les Flors, Teatre Lliure and Institut del Teatre. This square is dedi-cated to the great Catalan actress Margarida Xirgu. She was the muse of Fed-erico Gracía Lorca who wrote most female characters for her.
In this Conference FIRT/IFTR Barcelona 2013, Institut del Teatre shares spaces with its neighbors Teatre Lliure and Mercat de les Flors. Teatre Lliure and Mercat de les Flors are located in two Italian-style buildings that were built on the occasion of the Universal Exposition of 1929 in Barcelona.
Teatre Lliure
Founded in 1976, Teatre Lliure is one of the most representative theatres in Catalonia. Lluis Pasqual, one of its founding members, is the current director.The Lliure has two locations in Barcelona, this one in Montjuïc with a large room and a second one smaller, and one in Gràcia, a living medium format. In these areas there is entertainment from classical and contemporary texts, ideas and proposals from several areas and different scenic languages.
Mercat de les Flors
The history of the Mercat de les Flors as a municipal theatre goes back to 1983, when the mayor of Barcelona at that time, Pasqual Maragall, instigated the creation of this city performance space with the renovation of the Palace of Agriculture, built in 1929. After the premiere of the play The Tragedy of Carmen, by Peter Brook, the Mercat launched an irresistible programme of international shows and artists and, naturally, Catalan ones too. The current director is Francesc Casadesús
The great dome, twelve metres in diameter, which covers the Mercat en-trance hall, is the work of the Majorcan artist Miquel Barceló.
Practical InfoPractical Info 117116
Restaurants Guide
The restaurants are grouped from lowest to highest walk distance from Institut del Teatre. Our recommended are those with more information. Also there is an indication about target price.€ less than 15 euros€€ of 15 – 30 euros€€€ of 30 – 50 euros€€€€ of 50 – 100 euros
0 min.1. Cafè Restaurant Institut del Teatre €Plaça Margarida Xirgu s/nMarket food (daily menu 7/8 €)Cash / Credit CardsOpen from 12:00 to 15:00 and cafeteria from 17:30 to 19:00Prepared for disabled people
1 min.2. Cafè Sifó Teatre Lliure €Plaça Margarida Xirgu s/n (Teatre Lliure)Homemade Mediterranean food (daily menu served as buffet 10€)Cash / Credit CardsOpen from 10:00 to 17:00Advice in advance for disabled peoplewww.sifo.es
3. La Soleà (Mercat de les Flors Terrace) €Plaça Margarida Xirgu, s/n Homemade food (daily menu 9€)Cash Open from 12:00 to 16:00 and bar to 19:00 to 1:00Prepared for disabled peoplewww.barlasolea.com
2 min. 4. Parada €Grases, 29Galician Cuisine
5. Restaurant Cerveseria del Teatre €Grases 29Tapas and quick dishes
3 min.6. El Chicle €França Xica, 20Homemade mediterranean food (daily menu 10€)Cash / Credit Cards (VISA, Mastercard, American Express)Open to 13:30 to 16:30 and 20:00 to 0:00No prepared for disabled people 8. La Perla €€€Passeig Exposició 62Catalan cuisine, specializing in rice dishes and fish
9. Xemei €€€Passeig Exposició 85Venetian cuisine
10. Il Golfo di Napoli €€Lleida, 38Italian cuisineNo daily menu.Cash/Credit Cards (VISA, Mastercard, Amex)From 13:00 to 16:00 and 20:00 to 0:00. Sunday closed
5 min.11. Can Contry €€€Olivera, 4Closed for holidays
12. Can Margarit €€Concòrdia 21Typical and wellknown centennial warehouse with fine wines and traditional catalan dishes. Only open in the evenings.
13. Cèntric 35 €Olivera, 35Catalan food (daily menu 10€)Cash/ Credit Cards (VISA, Maestro, Mastercard)Open from 12:30 to 16:00 and 20:00 to 23:30. Monday closedNo prepared for disabled peoplewww.restaurantcentric35.com
14. El manjar de las Brasas €€Lleida, 19Traditional cuisine and grilled meats
15.Tickets €€€Avinguda Paral.lel, 164www.tickets.esTapas (Albert Adrià)Only open in the evenings. With required reserves
6 min.16. Ikibana Paral.lel €€€Paral.lel, 148Cooking Japanese-Brazilian fusion
17. Restaurant Basilico €Avinguda Paral.lel, 142Market kitchen (lunch menu 11€)
18. Rías de Galicia €€€€Lleida, 7Seafood restaurant
19. La Cañota €€Lleida, 793 3259175Tapas and Spanish dishes
20. Patkia €€€€€Lleida, 7www.patkia.esNikkei Cuisine (Albert Adrià). Whit required reserves
Practical InfoPractical Info 119118
34. Spicca €Parlament, 9Grill
10 min. 35. La Bella Napoli €€Margarit, 14Italian foodNo menuCash / credit CardsOpen daily from 13:00 to 16:00 and 20:30 to 0:00Prepared for disabled peoplewww.labellabnapolo.es
36. Bairoletto €€Roser, 82Argentinian foodCashOpen from Wednesday to Saturday from 20:00 to 1:30No prepared for disabled peoplewww.bairoletto.es
37. Quimet Quimet €Poeta Cabanyes, 25Tiny centennial warehouse. Specializing in tapas.
38. Paralelo 91 €€Avinguda Paral.lel, 91Italian food
39. El Duende de Poble Sec €€Poeta Cabanyes, 11Marked kitchenOpen only in the evening
40. La Tata €€Calàbria, 69Mediterranean food
11 min.41. Mall Les ArenasPlaça Espanya, s/nIn this mall, you can find several restaurants. Are open to 10:00 to 00:00.Cash / Credit CardsGustos BCN (Tapas & Salads)Cinco Jotas (Iberian Ham)Mussol Arenas (grilled meat and vegetables)Pura Brasa (Grill)Urban Grill (grill)Abrassame (Market cuisine)La Botiga (Catalan food. Speciality in rices)Watatsumi (Japanese cuisine)
Practical Info121
21. El Camarote de Tomàs €€€Lleida, 3Traditional mediterranean cuisine and seafood
22. La Soleà €Plaça del Sortidor, 14Homemade food (daily menu 9€)Cash Open from 12:00 to 16:00 and bar to 19:00 to 1:00Prepared for disabled peoplewww.barlasolea.com 7 min.23. Luki €Plaça del Sortidor, 3Catalan-Aragonese cuisineCash Open from 12:00 to 16:00Indoor and terracePrepared for disabled peoplewww.luki.com.es
24. El Sortidor €Plaça del Sortidor, 5Italian cuisine. Indoor and terrace
25.Café Teatro Picasso €€€€Elkano, 67Temporarily closed
26. La Tomaquera €€Margarit, 58Catalan Cuisine
27. Don Peregil €€Paral.lel, 169Grill
28. Peccato di Gola €Avinguda Paral.lel, 163Italian cuisine
29. L’Àmfora €€€Avinguda Paral.lel, 184Traditional cuisine. Specializing in cod fish. Open only in the evening
9 min. 31. Ébano Lounge €Avinguda Paral.lel, 124Indian kitchen
32. Fàbula Barcelona €Parlament, 1Medietrranean food
33. Braseria A Mariña €€€Parlament, 2Grill and seafood
Practical Info120
Practical Info122
Conference Organizers
Boris Daussà-PastorTheatre Phd Candidate at the Graduate Center – CUNY, specialized in South Asian theatre and performance (writing dissertation on the effects of Indian nationalism on Kathakali), and additional interest in Hispanophone Caribbean performance. He is a professor at Institut del Teatre, Theory and History De-partment, teaching classes at undergraduate and graduate (MA) level. Boris Daussà-Pastor has published a pratical introduction to Kathakali training and several academic articles in international research journals.
Mercè SaumellPhd in Art History, specialist in contemporary theatre, and more specifically Catalan devised theatre. She is Director of Cultural Services at Institut del Teatre, Barcelona (centre for documentation and museum of performing arts, publications, and research programs). She is a professor of theatre at graduate (MA and PhD) and undergraduate level. Merce Saumell is the author of two books about contemporary theatre and has published several articles in inter-national research journals.
Conference Staff
Jaume Ponsa, Conference Assistant Bio: MA in Digital Content Curator and BA in Library Sciences.
Carme Saldó Gasull, Visa Coordinator & Liaison to Publishers Bio: Freelance Cultural Management (events, press, production)
Artur García, Website Manager Institut del Teatre, Documentalist
Laura Conesa, Social Programme Coordinator Institut del Teatre, International Relations
Jordi Aubach, Image and Communication Institut del Teatre, Image and Communication
Eulàlia Conangla, General Coordinator of Centenary’s Office Institut del Teatre, Centenary’s Office Coordinator
Who is who?123
Rest
aura
nts
41
4029
15
16
17
34
38
35
23
30
35
25
249
8
7
1
45
3 26
1211
25 2239
37
32 33
31
27
28
13
14
10
2120 19 18
Who is who?
Maria Guillén, Executive Production Institut del Teatre, Production
Volunteer Staff
Cristina Cordero, Volunteer’s Coordinator Institut del Teatre graduate: Dramaturgy and Direction
Marc Chornet, Open Mic Coordinator Institut del Teatre graduate: Dramaturgy and Direction
Laia Falp, Accommodation liaison Institut del Teatre student: Dramaturgy and DirectionMaria Albadalejo, Stage manager Opening and Closing CeremoniesInstitut del Teatre graduate: ScenographyVerónica Rodríguez. Keynote assistantPhD Candidate, University of Barcelona
Who is who?124
Governors Board / Conseil Recteur
President / PrésidentSavador Esteve i FigueresPresident of the regional government of Barcelona, Diputació de Barcelona /Président du gouvernement régional de Barcelone, Diputació de Barcelona
Board Members / Membres du ConseilFerran Civil ArnabatCarles García CañizaresNúria Llorach MolonsJosep Salom GesJesús Ángel García BragadoCarles Ruíz NovellaJordi Font i CardonaManaging Director of Institut del Teatre / Directeur général de L’Institut del TeatreRamon Jovells i ArgelichManager of l’Institut del Teatre / Gérant de l’Institut del Teatre
Management Board / Conseil de Direction
Managing Director / Directeur généralJordi Font
Manager / GérantRamon Jovells
Academic Coordinator / Coordinateur AcadémiqueAntonio-Simón Rodríguez
Director of Cultural Services / Directeur des Services CulturelsMercè Saumell
Direction of School of Drama / Direction de l’École de ThéâtreMagda PuyoPedagogical Director / Directeur PédagogiqueAgustí HumetAcademic Director / Directeur Académique
Director of Dance Conservatory / Directeur du Conservatoire Supérieure de danseAvelina Argüelles
Director of Secondary School for the Ats and Vocational Dance Academy /Directeur de L’École d’Enseignement de secondaire et Artistique et Conservatoire Professionnel de DanseKeith Seiji Morino
Director of the School of Performing Arts Technology / Directeur de L’École Supérieure des Techniques des Arts du SpectacleJordi Planas
Director of Vallès Center / Directeur du Centre Territoriale du VallèsJordi Planas
Director of Osona Center / Directeur du Centre Territoriale d’OsonaCarles Salas
125
![[MS-ADFSOAL]: Active Directory Federation Services …... · Active Directory Federation Services OAuth Authorization Code ... Active Directory Federation Services OAuth ... Federation](https://static.documents.pub/doc/80x56/5ae61a947f8b9a6d4f8c406b/ms-adfsoal-active-directory-federation-services-directory-federation-services.jpg)
![METRIC PROPERTIES OF TRANSFORMATIONS OF G-SPACES · 2018-11-16 · 1971] METRIC PROPERTIES OF TRANSFORMATIONS OF G-SPACES 105 Tis said to have completely positive entropy ifTr(T)](https://static.documents.pub/doc/80x56/5f9304cfd576be188d1c33c5/metric-properties-of-transformations-of-g-2018-11-16-1971-metric-properties.jpg)
