iftr world congress reykjavik, iceland 20-24 june 2022

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IFTR WORLD CONGRESS

REYKJAVIK, ICELAND

20-24 JUNE 2022

CONTENTS

WELCOME 2

PROGRAMME AT A GLANCE 3

KEYNOTES 4

CONFERENCE PROGRAM 7

SOCIAL PROGRAM 75

PUBLISHERS & BOOK LAUNCHES 80

CAMPUS LUNCH OPTIONS 81

CAMPUS MAP 82

FLOOR PLANS 83

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WELCOME TO THE MIDDLE OF NOWHERE Welcome to the 2022 IFTR world congress in Reykjavík! Not to put any slight on our excellent online conference

last year, it will be so good to see everyone in person again.

Shifting Centres. The time since we last met in person has made our conference topic even more relevant. Focus

points of performances and lives have changed more than we could have imagined. There is so much to discuss

and rethink in these troubled times that the mind boggles. And this is certainly reflected in the spectrum of

papers to be discussed in our panels. We might need more than a week. Good that we have all learned how to

continue discussion online.

And this time we meet in Reykjavík. We are grateful for the opportunity to host the IFTR conference in the

University of Iceland in a cooperation between the Institute of Research in Literature and Visual Arts at the

University of Iceland and the Department of Performing Arts at the Iceland University of the Arts. We hope that

this cooperation will provide a fruitful platform for exchange for the many IFTR members visiting the

conference but also that your contribution and exciting research will be an inspiration for the Icelandic

academic community.

We hope you enjoy your time in Reykjavik, not only your academic exchange, but also the opportunity to

experience the midnight sun, the vibrant Reykjavik nightlife, and the beautiful Icelandic nature. A few points on

that. This will be a nice, cool conference with lots of fresh air. Might be a bit too fresh even. Hope you brought a

sweater. And something waterproof. Furthermore, even though Icelandic nature is beautiful and fun to

discover, it can also be dangerous. The rule of thumb is: Don't climb on it, swim in it, hike it, take a selfie with it,

unless you have on a pretty good authority that it is safe. That goes for everything. Except for the water. It's

always OK to drink the water. Any river, pond, tap … all safe to drink.

So, let's shift some centres!

The conference organizers wish you a lively and fruitful conference,

Magnus Thorbergsson, Sigridur Lara Sigurjonsdottir, Brogan Davison, Gudrun Kristinsdottir, Gunnthorunn

Gudmundsdottir, and Ingibjörg Thorisdottir

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PROGRAMME AT A GLANCE MONDAY 20 JUNE

09:00-10:30 WG1: Working Group Sessions

11:00-12:30 WG2: Working group Sessions

12:30-14:00 Lunch

14:00-15:30 GP1: General Panels

16:00-17:30 Opening Ceremony

Lilja Dögg Alfredsdottir, Minister for Culture and Business Affairs

Jón Atli Benediktsson, Rector of the University if Iceland

Elaine Aston, President of IFTR

Presentation of New Scholars’ Prizes by Maria Delgado

Keynote: Magnus Thor Thorbergsson: Escape from the Middle of Nowhere: Writing Theatre

History on a Floating Island

Chair: Sigridur Lara Sigurjonsdottir

17:30 Welcome Reception

TUESDAY 21 JUNE


11:00-12:30 NSF1: New Scholars Forum

12:30-14:00 Lunch / New Scholars Workshop 1



WEDNESDAY 22 JUNE



12:30-14:00 Lunch / New Scholars Workshop 2


16:00-17:00 IFTR General Assembly

17:00-18:00 Keynote: Milija Gluhovic: ‘What Does Defending Europe Mean?’: Theatre and Migration in the

Balkans

Chair: Ingibjörg Thorisdottir

THURSDAY 23 JUNE


11:00-12:30 NSF2: New Scholars Forum

12:30-14:00 Lunch / NS Caucus / WG Conveners meeting



FRIDAY 24 JUNE



12:30-14:00 Lunch


16:00-17:30 Keynote: Pikene på broen - Inger Blix Kvammen in dialogue with Evgeny Goman

Chair: Brogan Davison

Closing Ceremony

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KEYNOTES

MONDAY 20 JUNE

Magnus Thor Thorbergsson

ESCAPE FROM THE MIDDLE OF NOWHERE: WRITING THEATRE HISTORY ON A FLOATING ISLAND

Since the founding of the Icelandic Republic in 1944, following a long-standing campaign to break the ties to

the Danish Kingdom, a central aspect of Icelandic national identity may be said to emphasize an image of the

country as a geographical and cultural bridge between the continents of North America and Europe. Floating

on the periphery – one might even say in the middle of nowhere – way up in the North Atlantic and touching

the Arctic Circle, Iceland is situated directly on the rift between two tectonic plates – the Eurasian and the North

America plates – which are gradually pulling the country apart. Despite the evident isolation of the island, this

image of the country as a geographical point of contact between Europe and North America also influences the

cultural identity of the nation, which is marked by continuing attempts to find a place of significance in a global

context.

This search for a place on the global map that is closer to a notion of a ‘centre’ than the actual location of

Iceland on the geographical periphery indicates, can be seen on several key occasions in the history of Icelandic

theatre and performance. A crucial aspect of the public debate on the occasion of the first amateur theatre

productions in the second half of the nineteenth century was the necessity to build a public theatre in order for

the country to achieve the same cultural standards as nations that were considered ‘educated’ and ‘cultural.’

Thus, the performance of the audience in the theatre as well as in public gatherings was scrutinized and

evaluated in the press, sometimes to a no lesser extent than the theatrical performances themselves. Later on,

the marketing of the country as a stop-over destination in air travel across the Atlantic had its impact on the

Icelandic theatre, providing opportunities to see the Icelandic theatre as a cultural meeting point and as a route

for cultural exchange in festival culture and visiting artists. Such exchange has proven important in positioning

the country, seeing Icelandic culture as a part of (and a player in) an international cultural context.

The efforts to escape the periphery also influences the ways theatre history has been conducted in Iceland. The

dominant narrative of Icelandic theatre historiography usually traces the history of Icelandic theatre from

ritualistic and pagan roots, through amateur theatre towards professionalization and institutionalization of the

field in a linear and hierarchical manner, emphasizing comparable historical turning points and periods as may

be found in particularly European models.

The opening lecture examines case studies from Icelandic theatre history which show attempts to pull an

isolated island on a geographical periphery closer to a dominant cultural centre.

Magnus Thorbergsson studied Comparative Literature at the University of Iceland and Theatre Studies at the

Free University in Berlin. His PhD thesis focused on the shaping of a theatrical field in Iceland and the role of

theatre in developing a modern, bourgeois cultural identity 1850-1930, and following its completion in 2017,

Magnus received a postdoctoral research fellowship at the University of Iceland investigating the history of

theatre among Icelandic settlers in North America. He is a former co-convener of the IFTR Historiography

Working Group and the former president of the Association of Nordic Theatre Scholars. Magnus was an

assistant professor and program director of Theatre and Performance Making at the Iceland University of the

Arts 2005-2015 and currently works as senior dramaturg of the Reykjavik City Theatre.

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WEDNESDAY 22 JUNE

Milija Gluhovic

‘WHAT DOES DEFENDING EUROPE MEAN?’: THEATRE AND MIGRATION IN THE BALKANS

This presentation investigates the plight of asylum seekers, refugees, and migrants on the East European

‘periphery,’ and specifically on the ‘periphery within the periphery,’ the Balkans. It outlines the historical and

socioeconomic factors that have contributed to the rise and fall of the West Balkan corridor that made it

possible for a large influx of migrants—men, women, and children—from Africa and the Middle East (Syria in

particular) to enter Western Europe in 2015 and 2016. Then it highlights the ways in which theatre and

performance artists have responded to this recent mass migration occurrence in the region before focussing on

the performance The Game (Gejm, 2020), a devised theatre project by the Mladinsko Theatre in Ljubljana,

Slovenia, which received the grand prix for best performance of the fifty-sixth annual Maribor Theatre Festival

in 2021. This testimonial piece of theatre, I argue, builds an archive of the heterogenous biopolitical and spatial

tactics deployed by states for pushing back, diverting, and disrupting migrations, as well as denying migrants

access to asylum procedures; at the same time, The Game also helps in tracing the political legacies of migrant

struggles, thus countering the violent erasures of racialized border practices. Drawing on scholars such as Seyla

Benhabib (2018), Neža Kogovšek Šalamon (2020), and Slavoj Žižek (2022), I argue that the absence of political

and structural solutions for the refugee crisis proposed by Europe is currently the most visible symptom of the

deep and multifold dimensions of the EU crisis, and that EU asylum policy needs to be substantially rethought

and revisited, so that people fleeing conflicts and seeking asylum should not be subjected to double standards

based on their European or non-European origin.

The presentation concludes with some thoughts on labour migrations in the Balkans in the context of China’s

New Silk Road Internationalism, with the region becoming, once again, a zone of political and economic

competition between the East and the West. The contested nature of this Belt and Road Initiative-driven,

infrastructural project illustrates the interconnectedness of local and global power structures and their effects

on the intensification of labor precarity, violations of workers’ rights, and the contours of lives, places, and

socio-natures.

Milija Gluhovic is Reader in Theatre and Performance Studies at the University of Warwick, UK. His research is

in the area of modern and contemporary theatre and performance with published work in the areas of memory

studies and psychoanalysis; discourses of European identity, migrations and human rights; religion, secularity,

and politics; and international performance research and pedagogy. His essays are published in Studies in

Theatre and Performance, Research in Drama Education, New Polish Perspectives, Teatron, and Sarajevo

Notebooks. His books include A Theory for Theatre Studies: Memory (Bloomsbury, 2020), Performing European

Memories: Trauma, Ethics, Politics (Palgrave, 2013) and co-edited volumes The Oxford Handbook of Politics

and Performance (OUP, 2021), International Performance Research Pedagogies: The Unconditional Discipline?

(Palgrave, 2018), Performing the Secular: Religion, Representation and Politics (Palgrave, 2017), and

Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest (Palgrave, 2013).

Currently he leads a collaborative project ‘Performance and Politics on the New Silk Roads,’ funded by the

Institute of Advanced Studies at Warwick. He serves as a member of the Executive Committees of the

International Federation for Theatre Research and the European Association for the Study of Theatre and

Performance. He is also the Associate Editor of Brill’s ‘Themes in Theatre’ book series and serves on the

editorial board of the European Journal of Theatre and Performance.

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FRIDAY 24 JUNE

Inger Blix Kvammen in dialogue with Evgeny Gorman

PIKENE PÅ BROEN (THE GIRLS ON THE BRIDGE)

Pikene på Broen is a collective of curators and producers based in the north-eastern Norwegian town of

Kirkenes. Located 15km from the Russian border and 50km from the Finnish border the town of Kirkenes is

ideally placed for cross-border cooperation and cultural exchange in the Arctic. Pikene på Broen was

established in 1996 and has spent the past 20 years realising large and small scale cultural projects – they call

these ‘border-crossing exercises’ which provide new perspectives on the north.

In 2009 Pikene på Broen was awarded the 2009 Eckbos Legaters Culture Prize. The jury's conclusion reads:

“Pikene på Broen have contributed significantly to making Kirkenes one of the most important towns in Norway

and through their art projects, they have challenged understanding of geopolitics, centre and periphery.”

In their keynote Inger Blix Kvammen (artist and one of the founders of Pikene på Broen) and Evgeny Goman

(theater director and ex-minister of culture of Murmansk region) will tell the story of arctic cultural cross-

border exercises, including the effect the Russian aggression towards Ukraine has on the almost 30 years of

cultural collaboration.

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CONFERENCE PROGRAMME

DAY 1 MONDAY 20 JUNE 2022

9:00-10:30 WORKING GROUPS

WG 1-1 ASIAN THEATRE

ROOM: L-204

REWRITING, RETURNING, RENEWING

Chair: Sir Anril P. Tiatco

FROM CENTRE TO PERIPHERY: TRANSLATING ASIAN DRAMA INTO FINNISH

Anna Thuring (Independent Researcher)

LIN ZHAOHUA’S IBSEN: BREAKING THE IBSEN/STANISLAVSKI AXIS

Liyang Xia (University of Oslo)

WG 1-2 CHOREOGRAPHY AND CORPOREALITY

ROOM: L-201

INTRODUCTION FROM CONVENORS

Prarthana Purkayastha and Rosemary Candelario

SCRIPTIVE THINGS AND AESTHETIC DISPLACEMENTS IN SANKOFA DANZAFRO’S LA MENTIRA

COMPLACIENTE

Melissa Blanco (Northwestern University)

STEPPING OUTSIDE THE RING: THE HISTORY OF THE CIRCUS OZ OUTBACK TOURS 1985 -1993

Andrew Fuhrmann, Kirsten Stevens and Rachel Fensham (University of Melbourne)

LEAN WORLDS, VORACIOUS BODIES

Prarthana Purkayastha (Royal Holloway, University of London)

WG 1-3 DIGITAL HUMANITIES

ROOM: A-069

VIRTUAL REALITY 1

Chair: Berenika Szymanski-Düll

THE RETREAT – ETHICAL AND DRAMATURGICAL REFLECTIONS UPON VR TECHNOLOGIES IN PERFORMING ARTS Anna Lawaetz (Royal Danish Library) and Jeppe Lawaetz (The Danish National School of Performing Arts)

VR/AR IN DH? POTENTIAL RESEARCH QUESTIONS FOR THEATRE & PERFORMANCE STUDIES Nora Probst (University of Paderborn)

WG 1-4 EMBODIED RESEARCH

ROOM: VHV-007

OPENING SESSION

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WG 1-5 FEMINIST RESEARCH

ROOM: L-103

The Feminist Working Group members read each other’s papers in advance of each session, so that the

meetings are given to discussion of the work that has been read (rather than formally presenting papers).

Conference delegates who wish to attend the WG sessions are very welcome and are encouraged to contact

the conveners Indu Jain ([email protected]) or Lisa Fitzpatrick ([email protected]), to request to read

the papers and attend the sessions.

PAPERS DISCUSSED IN THE FEMINIST RESEARCH WG AT THE 2022 IFTR CONFERENCE:

POSTCARDS FROM THE PAST: CONCEPTUALIZING AND INTERPRETING CORRESPONDENCE FROM

TERESA DEEVY TO JAMES CHEASTY CIRCA 1952 TO 1962

Una Kealy (Waterford Institute of Technology) and Kate McCarthy

DE-CENTERING PERFORMANCE: COSTUME WORK, WOMEN’S WORK AND WASTE BACKSTAGE

Aoife Monks (Queen Mary University of London)

SHIFTING CENTRES BEHIND THE CURTAIN – THEATRE WORK AS RE/PRODUCTION

Yana Prinsloo (Johannes Gutenberg Universität Mainz)

THE ASEXUAL PERIFERY: WOMEN’S ADVENTURING ON THE EARLY MODERN STAGE

Bridget Escolme (Queen Mary University of London)

SPEAKING TRUTH TO POWER: SUZIE MILLER’S PRIMA FACIE IN THE #METOO ERA

Sarah Thomasson (Victoria University of Wellington)

MATERNAL PERFORMANCE REIMAGINED ANEW – CONSIDERING HANNAH BALLOU’S GO:GAA II

(2021) AND JOSIE LONG’S TENDER (ONLINE) (2022)

Lena Simic (Edge Hill University) and Emily Underwood-Lee (University of South Wales)

WOMEN, CITIZENSHIP, AND CONFLICT

Lisa Fitzpatrick (University of Ulster)

THE TRANSVERSAL FORCE OF JULIET'S DESIRE

Zoa Archer (University of Massachusetts Boston)

PERFORMING MOTHERHOOD, ON AND OFF STAGE: SOVA SEN AND POSTCOLONIAL BENGALI

THEATRE

Mallarika Sinha Roy (Jawaharlal Nehru University)

NORA’S EXIT AFTER IBSEN: NOTIONS OF CHOICE IN THEATRICAL REPRESENTATIONS OF WOMEN

LEAVING THE DOMESTIC SETTING

Rebecca Benzie (University of York)

DIAGRAMMING CROSS-GENDER SHAKESPEARE: SPECTRUMS OF GENDER-Y-NESS

Amanda Finch (Ulster University)

NEW THEATRICAL PRACTICES (ON THE MARGIN OF THE DEBATE ON VIOLENCE)

Monika Kwaśniewska-Mikuła (Jagiellonian University)

PERFORMING FEMINIST ARTIVISM DURING THE COVID-19 PANDEMIC: THE CHINESE VAGINA

MONOLOGUES, GRASSROOTS FEMINIST THEATRE ORGANISING AND THEATRE -MAKING IN CHINA

Yingjun Wei (Trinity College Dublin)

WOMXN DIRECTING SHAKESPEARE NOW: DECOLONIAL PRACTICE, INTERSECTIONAL CHANGE

Kim Solga (Western University)

‘DAUGHTER’S OPERA’: AN EPISTEMIC REPRESENTATION OF FEMINIST SOLIDARITIES

Indu Jain (Delhi University)

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MAGMA AS ÉCRITURE FEMININE IN CHOREOGRAPHER OONA DOHERTY’S LADY MAGMA: THE

BIRTH OF A CULT (2019)

Shonagh Hill (Queen's University Belfast)

GETTING NOWHERE? FEMINIST EXPERIMENTS WITH FAILURE IN “REVOLT. SHE SAID. REVOLT

AGAIN.” BY ALICE BIRCH AND “THE WRITER” BY ELLA HICKSON

Hannah Greenstreet (University of Liverpool)

HUNTERS' LOVE AGAINST HUNGRY LISTEN ING: INDIGENOUS SOVEREIGNTY IN “VIGIL" AND “THE

UNNATURAL AND ACCIDENTAL WOMEN”

Sheetala Bhat (University of Western Ontario)

RECLAIMING SHE-WOLF SKIN: INVESTIGATING THE CORPOREAL IMPACTS OF CRISIS THROUGH AN

ANIMAL-WOMAN TRANSFORMATION FOLK TALE

Roksana Niewadzisz (University College Cork)

FORNES' DESPERATE MIGRATIONS AND THE BLUE HUMANITIES

Elin Diamond (Rutgers University)

APPARENTLY INNOCENT GAMES, OR ON TESTING OLD/NEW EPISTEMOLOGIES FROM CENTRAL

AND EASTERN EUROPE

Ewa Bal (Jagiellonian University)

15 SECONDS: AN AUTOETHNOGRAPHIC EXPLORATION THROUGH PERFORMANCE OF POST -

TRAUMATIC GROWTH AND RECOVERY AFTER DOMESTIC VIOLENCE

Jennifer Goddard (Ulster University)

MARGINALISED MOTHERHOOD: PERFORMING IMPOSSIBILITY IN JORDAN AND IPHIGENIA IN

SPLOTT

Leah Sidi (University College London)

ECHOES FROM BEYOND THE GRAVE: STRATEGIES FOR RESPONDING TO THE REPETITION AND

REPRODUCTION OF DISCOURSES, PRACTICES AND INSTITUTIONS OF HARM

Roisin O'Gorman (University College Cork)

THIS IS YOUR MOTHER'S PERFORMANCE STUDIES: HOW EFUA SUTHERLAND GAVE BIRTH TO A FIEL

Nikki Yeboah (University of Washington, Seattle)

“IT IS NOT JUST A BLANKET” – MAKING ART FOR ONESELF AND SUBVERTING PERCEIVED

VULNERABILITY

Katharine Low (Royal Central School of Speech and Drama)

RECLAIMING SPACES AND DECENTERING PATRIARCHY: FEMINIST-COMIC DRAMATURGY IN URBAN

INDIAN COMEDY

Nisha Tiwari (Jawaharlal Nehru University)

MATERNAL SOUNDING, VOICING AND LISTENING

Karen Quigley (University of York)

DAVE ON DAVE: ZOE COOMBS MARR’S THE OPENER

Sarah Balkin (University of Melbourne)

OF SOLIDARITY AND SHAHZIASPEAK: PERFORMING VISUAL ART AS DECOLONIZING FEMINIST

PRAXIS

Fawzia Afzal-Khan (Montclair State University)

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WG 1-6 HISTORIOGRAPHY

ROOM: ÁG-301

NETWORKS/TOURS

Chair: Chris Hay

TRAVELLING THROUGH EUROPE 1788: A DIGITAL MAPPING OF MOBILITY

Ulla Kallenbach (University of Bergen)

SHIFTING CENTRES, ACTIVE TRAJECTORIES: WOMEN’S THEATRE NETWORKS IN THE LONG

NINETEENTH-CENTURY

Kate Newey (University of Exeter)

“THE MOST DANGEROUS ATTACK”: THE MOSCOW KAMERNY THEATRE’S 1923 EUROPEAN TOUR

Dassia Posner (Northwestern University)

ON THE SEESAW BETWEEN CENTER AND PERIPHERY: KRYSTYNA SKUSZANKA’S POLISH AND

NORWEGIAN CAREER

Ewa Partyga (Institute of Art, Polish Academy of Sciences)

WG 1-7 INTERMEDIALITY

ROOM: L-102

POST PANDEMIC INTERMEDIALITIES: TECHNOLOGICAL STRATEGIES AND DIGITAL CO-CREATION

Chair: Lynne Kendrick

WHAT IS THEATRE’S HYBRID FUTURE?

Ramona Mosse (Freie Universität Berlin)

ON THE EDGE: DIGITAL CO-CREATION WITH MIGRANT ARTISTS DURING PANDEMIC TIMES

Elena Marcevska (London South Bank University) and Carolyn Defrin (independent scholar)

WG 1-8 MUSIC THEATRE

ROOM: A-050

PSYCHO-EMOTIONAL / RECEPTION(S)

SHIFTING CENTRES: CHOREOGRAPHY AND POST-TRAUMATIC STRESS DISORDER IN THE MUSICAL

BANDSTAND

Phoebe Rumsey (University of Portsmouth)

TOWARDS THE ELUCIDATION OF THE PSYCHOLOGICAL IMPACT OF ORCHESTRATION AESTHETICS IN

MUSIC THEATRE

Ryan Green (University of Plymouth)

LIVE-THEATRE MUSIC ON CONTEMPORARY THEATRE STAGES – CORPOREALE PROCESSES OF

IDENTITY FORMATION

Tamara Yasmin Quick (Ludwig Maximilians University of Munich)

WG 1-9 PERFORMANCE AND DISABILITY

ROOM: O-106

INTRODUCTION AND BUSINESS MEETING

Chair: Jessica Watkin and Tony McCaffrey

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WG 1-10 PERFORMANCE AS RESEARCH

ROOM: ÁG-422

OPENING SESSION

WG 1-11 PERFORMANCE IN PUBLIC SPACES

ROOM: A-052

PERFORMING CONTESTED SPACES

THE EXTRAORDINARY ORDINARY: PUBLIC SPACE AS A SITE OF ARTISTIC CONTESTATION IN THE

WORK OF ALEX MLYNARČÍK

Sam Čermák (Queen Mary, University of London)

TRANSGRESSIVE MOMENTUM: DECENTERING SOVEREIGN JERUSALEM AND CLIPA’S

PERFORMANCE 'THE FIELD'

Daphna Ben-Shaul (Tel Aviv University)

MURANÓW’S MNEMONICS: THE PERFORMANCE OF EPHEMERAL AND STATIC MEMORIAL

SPATIALIZATIONS OF POLAND’S CONTESTED WARTIMES HISTORIES

Rachel Merrill Moss (Boston University)

WG 1-12 PERFORMANCE, RELIGION AND SPIRITUALITY

ROOM: ÁG-310

PROCESSES OF MATTERING

INTRODUCTION

THE CURIOUS CASE OF BIRDLY

David Mason (Ecumenica Journal)

DRAWING AND PERFORMING DIVINITY

Sanjay Kumar (Central European University)

WG 1-13 POLITICAL PERFORMANCES

ROOM: ÁG-201

EPISTEMOLOGIES I: RACE, POST-IMPERIALISM, PROTEST

Chair: Trish Reid

AFRO-PESSIMISM AND THE PARA-NORMAL: INERTIA AND DECADENCE IN JAAMIL OLAWALE

KOSOKO’S SÉANCERS

Adam Alston (Goldsmiths, University of London)

TOWARDS ASYLEE FUTURISM: ALTERNATIVES, AFROFUTURISM, AND THE AFFECTIVE AESTHETICS

OF AGENCY

Asif Majid (University of Connecticut)

HANDING THE ‘INVISIBLE KNAPSACK’ IN AT THE CLOAKROOM? CONTEMPORARY DANISH

PERFORMANCE AND THE WHITE GAZE

Anika Marschall (Aarhus University)

WG 1-14 POPULAR ENTERTAINMENTS

ROOM: A-220

The Popular Entertainments Working Group operates by circulating members’ draft papers in advance of the

conference, enabling a more focused discussion. Conference delegates who wish to attend working group

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meetings are very welcome to do so and are encouraged to contact convenors Jason Price

([email protected]) and Susan Kattwinkel ([email protected]) to gain access to papers ahead of

sessions.

CIRCUS SPECTATORSHIP IN THE EXPERIENCE ECONOMY

Madeline Hoak (Pace University)

COMMERCIAL COMEDY: CRITIQUING CLASS AND CULTURE, THE ACADEMIC UNDER-VALUING OF

POST-WAR POPULAR THEATRE

Louise Peacock (De Montfort University)

FRENCH OPERETTAS AND ENGLISH “WEST END” MUSICALS IN BRAZIL: SIMILITUDES BETWEEN

HISTORICAL AND CONTEMPORARY POPULAR ENTERTAINMENTS IN RIO DE JANEIRO AND SÃO

PAULO

Larissa de Oliveira Neves (University of Campinas)

FIGHTING LONELINESS WITH POP: LISTENING TO METROPOLITAN POP DUETS FROM THE

PERIPHERY

Andres Kalawski (Pontificia Universidad Católica de Chile)

WG 1-15 THE CREATIVE PROCESS/PROCESSUS DE CREATION

ROOM: ÁG-303

ELEMENTS INVARIANTS DANS LES PROCESSUS DE CREATION?

INTRODUCTION ET ÉTAT DES LIEUX

Sophie Proust, convenor of the Working Group

INVARIANTS AND FLUCTUATIONS IN THE WORK OF THE ACTOR, AN INTERCULTURAL APPROACH

Laurent Berger (University of Montpellier 3)

RECURRENT ASPECTS IN THE DYNAMICS OF COLLECTIVE CREATION PROCESSES

Marcilene De Moura

PROCESSUS DE CRÉATION DU TEXTE DOCUMENTAIRE

Stranger Ines (Pontificia Universidad Católica de Chile)

WG 1-16 QUEER FUTURES

ROOM: ÁG-304

QUEER INTIMACY, QUEER CONNECTIONS, QUEER EMOTIONS

Chair: Stephen Greer

“DOING” QUEER RESILIENCE IN PERFORMANCE: THE DIRECTIONALITY OF NEGATIVITY & RE -

MEMBERING UGLY EMOTIONS

Jamie Bigley (NUI Galway)

CAN THEATER HELP PEOPLE HAVE BETTER SEX?

Heath Pennington (University of California Santa Barbara)

CHOREOGRAPHY AS SCIENCE: CLASSIFICATION, EPISTEMOLOGICAL ANARCHISM AND HIV/AIDS

(HI)STORY IN THE CLARK/BOWERY COLLABORATION

Alexander Theo Giesen (Faculty of Arts and Humanities, King's College London)

WG 1-17 SCENOGRAPHY

ROOM: ÁG-311

CULTURES AND SCENOGRAPHIES

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Chair: Christine Essin

RELOCATION OF THEATRE CENTERS DURING THE CZECHOSLOVAK ‘NORMALIZATION’ OF THE 1970S

AND 1980S OF 20TH CENTURY: SCENOGRAPHER JAROSLAV MALINA IN NORTHERN BOHEMIA

Vera Velemanova (Arts and Theatre Institute Prague)

FROM PARIS TO STOCKHOLM: BIRGER JARL AND THE BEGINNING OF ‘SWEDISH NATIONAL

COSTUME DESIGN’

Petra Dotlacilova (Stockholm University)

THE SCENIC AND AFFECTIVE DIMENSIONS OF CHRISTIAN VESTMENTS IN CONTEMPORARY

MALAYALAM MOVIES OF KERALA, INDIA

Viju Vannathan Valappil (Indian Institute of Technology Madras)

CANON: A TRANSNATIONAL AND INTERDISCIPLINARY MODEL FOR RESEARCHING THE HISTORY OF

TECHNICAL THEATRE

Nick Hunt (Rose Bruford College)

WG 1-18 THE THEATRICAL EVENT

ROOM: L-205

AMATEUR/STUDENT THEATRE

Chair: Rikard Hoogland

CHILDREN, STUDENTS, AMATEURS – FRAMING THE DIVERSITY

Willmar Sauter (Stockholm University)

AI AND THE HUMAN MAKING STUDENT THEATRE: STUDYING EACH OTHER

Janne Tapper

PREPARING FOR PERFORMANCE: STUDENT TRAINING AND DIRECTION IN-PERSON AND ONLINE

Vicki Ann Cremona (University of Malta)

WG 1-19 THEATRE & ARCHITECTURE

ROOM: O-202

URBAN PERFORMATIVITY, THEATRE AND THE CITY

Chair: Shauna Janssen

MOANA NUI SPACING AND THE PERFORMATIVE HABOUR CITY

Dorita Hannah (University of Auckland)

DELHI’S CULTURAL CENTER: IS THERE ANY?

Nimish Nanda (Indian Institute of Technology Delhi)

WEED WALK

Mark Harvey (University of Auckland)

ITALIAN THEATRES IN THE MIDDLE OF NOWHERE. MORE THAN 100 HISTORICAL THEATRES IN

MORE THAN 100 HISTORICAL VILLAGES WITH LESS THAN 5000 INHABITANTS

Susanna Clemente (Università degli studi di Roma La Sapienza)

WG 1-20 TRANSLATION, ADAPTATION AND DRAMATURGY

ROOM: ÁG-101

PRESENTATION OF THE PROJECT THE FRENCH WAVE IN ICELANDIC THEATRE 1960-2000

Chair: Bernadette Cochrane

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SITTING ON THE FENCE: ON THEATRE TRANSLATION AND ADAPTATION

Katja Krebs (University of Bristol)

ON FRENCH AESTHETICS IN ICELANDIC THEATRE (1960-2000)

Gudrun Kristinsdottir (University of Iceland)

VIGDÍS FINNBOGADÓTTIR AND AVANT-GARDE THEATRE IN ICELAND

Irma Erlingsdóttir (University of Iceland)

A VAUDEVILLE ON THE MOVE: THE EXAMPLE OF PYJAMA POUR SIX BY MARC CAMOLETTI

Ásdís Rósa Magnúsdóttir (University of Iceland)


WG 2-21 AFRICAN AND CARIBBEAN PERFORMANCE

ROOM: O-203

BUSINESS MEETING


ROOM: L-204

DETERRITORIALIZATION / RETERRITORIALIZATION

Chair: Rajdeep Konar

PASSAGES TO INDIA: INDIA AND THE MAKING JERZY GROTOWSKI’S THEATRE PRACTICES AND

PERFORMANCE THEORIES

Tsu-Chung Su (National Taiwan Normal University)

IBSEN AND THE OPPRESSED: A STUDY OF THE ADAPTATION OF A DOLL’S HOUSE IN THE INDIAN

THEATRES OF THE OPPRESSED

Priyanka Chatterjee (University of Victoria)


ROOM: L-201

CHOREOGRAPHIES OF CARE

Charli Brissey (University of Michigan)

MOTHER SEA WAVE: JINEN BUTOH’S EVOLUTIONARY ANCESTORS

Rosemary Candelario (Texas Woman's University)


ROOM: A-069

VIRTUAL REALITY 2

Chair: Alexandra Portmann

USING VIRTUAL REALITY TECHNIQUES TO RECONSTRUCT LOST CULTURES OF SPECTATORSHIP

Julie Holledge (Flinders University)

VISUALISING THE VICTORIA THEATRE: DIGITAL RECONSTRUCTION OF THE 1891 STAGE HOUSE AND

SCENIC EQUIPMENT

Gillian Arrighi (Independent Scholar)

15


ROOM: VHV-007

ONLINE SPACES/BODIES

EXPLORING EMBODIED CITIZENSHIP THROUGH INTERMEDIALTY IN KAPUR’S ANTIGONE PROJECT

AND 409 RAMKINKARS

Raman Kumar (Jawaharlal Nehru University)

EXCAVATING PRESENCE: TRIGGERS, FISSURES, THRESHOLDS

Matteo Bonfitto (State University of Campinas – UNICAMP)

“CONNECTIONS ACROSS REMOTENESS” – REFLECTIONS ON TWO LIVE PERFORMANCES AT THE

VIRTUAL NATIONAL ARTS FESTIVALS OF SOUTH AFRICA

Anton Krueger (Rhodes University)

SOMATIC-PERFORMATIVE LABORATORIES: REMODELLING COLLECTIVE EMBODIED RESEARCH

Melina Scialom (Hong Kong Academy of Performing Arts)


ROOM: L-103

See statement and list of papers above


ROOM: ÁG-301

HISTORICAL DEVELOPMENTS

Chair: Meike Wagner

PROFESSIONALIZING ACTING: UNRULY KNOWLEDGES AFOOT

Anke Charton (University of Vienna)

THE EMERGENCE OF PROFESSIONAL ACTING COMPANIES IN THE EARLY MODERN PERIOD. A

COMPARATIVE PERSPECTIVE

Stefan Hulfeld (University of Vienna)

WHO’S THERE? – AGENCY, TEMPORALITY AND SPATIALITY IN THEATRE HISTORIOGRAPHY

EXEMPLIFIED WITH THE FIRST DANISH STAGE PRODUCTION OF HAMLET IN DENMARK, 1813

Annelis Kuhlmann (Dramaturgy Studies, Aarhus University)

VISIBILITY, INVISIBILITY AND THE CASE OF EDWARD COLSTON

Jim Davis (University of Warwick)


ROOM: L-102

INTERMEDIAL PLAY: VOICE, SONG AND PERFORMANCE THROUGH TECHNOLOGY

Chair: Ramona Mosse

BEAUTIFUL THE WORLD: TECHNO-UTOPIAS AND THE AI SONG CONTEST

Yaron Shyldkrot (University of Sheffield)

CONNAN MOCKASIN AS MR BOSTYN: THE POPULAR MUSIC ARTIST IN DISGUISE, THE

PERFORMANCE PRACTITIONER AS POPULAR MUSIC ARTIST

Tessa Vannieuwenhuyze (Ghent University)

FRAMES OF ADDRESS: THEATRICALITY AND MEDIATION IN ‘ASMR’ ROLE -PLAY VIDEOS

Emma Bennett (University College Dublin)

16

VIDEO GAMES AS PERFORMANCES: FIVE CATEGORIES

Marleena Huuhka (University of Tampere)


ROOM: A-050

GLOBAL, LOCAL, (POST)COLONIAL I

GLOBAL MARKETS AND LOCAL COMMUNITIES: MUSICAL THEATRE IN THE NETHERLANDS

Millie Taylor (University of Winchester)

WILLIAM KENTRIDGE AND THE LIMITS OF POSTCOLONIAL OPERA

Juliana Pistorius (University of Huddersfield)

ROBERT WILSON'S GLOBALITY AND THE POSTHISTORICAL IMAGINATION

David Gutkin (Peabody Institute of Johns Hopkins University)


ROOM: O-106

DISABILITY AESTHETICS AND THE PANDEMIC


AESTHETICS OF IM/MOBILITY AND ACCESSIBILITY IN (POST -) PANDEMIC THEATRE IN

SWITZERLAND

Yvonne Schmidt (University of the Arts, Bern)

DISTURBING GESTURES: PERFORMING CARE AMID CHOREOGRAPHIES OF ZOOM

Jose Miguel Esteban (University of Toronto)

CENTERING INTERCULTURAL EXCHANGE AND SHARED EXPERIENCE AT ZAGREB’S BIT FESTIVAL

Joseph Paul Hill (The Graduate Center, CUNY)

THE WORLD THIS BODY CREATES: A WORKSHOP DEMONSTRATION ON CENTRING DISABLED

BODIES THROUGH PUPPETRY

Laura Purcell-Gates (Bath Spa University)


ROOM: ÁG-422

THE TEXT-EVENT AS PRAXIS FOR DECENTRALIZING MEANING IN AN INDIVIDUALLY MEDIATIZE D

WORLD

Jef Hall-Flavin (Royal Central School of Speech and Drama)

DESTABILIZING HETERONORMATIVITY IN DYNAMIC SHAKESPEARE PERFORMANCE

Robert Lublin (University of Massachusetts Boston)

DON’T LEAVE ME THIS WAY. DECENTRALIZATION AND MULTILINGUALISM IN DRAMATURGIES OF

MIGRATION I

lldikó Rippel (University of Worcester)

ZU-UK ZAP LAB FINALE WORKSHOP: CO-CREATIVE WHATSAPP LABORATORY SHARING

Kesia Guillery and Carlos Eduardo Pires (University of Greenwich)

VIRTUALLAGE AS A POSTHUMAN ARTFORM: PERFORMANCE OF DECENTRALISING HUMAN AND ITS

SPACES

Anna Makrzanowska (Loughbrough University)

17


ROOM: A-052

SOCIAL CHANGE AS PUBLIC SPACE

BANDA DIGNIDAD, FROM PERIPHERIES TO THE CENTRE: ARTIVISM, PREFIGURATION AND

LIMINALITY IN THE CONTEXT OF THE CHILEAN SOCIAL OUTBREAK OF OCTOBER 2019

Paulina Bronfman (NMAPA)

PERFORMING SOCIAL CHANGE ON THE ISLAND OF IRELAND: FROM REPUBLIC TO PANDEMIC

Ciara L Murphy (NUI Galway)


ROOM: ÁG-310

QUEERING RELIGION

LETTING NOTHING DO ITSELF

Elisabeth Laasonen Belgrano (Inter Arts Center, Malmo, Lund University) and Mark D. Price (Lenkiewicz

Foundation)

THE GLITCHENING

Christopher Danowski (University of Portsmouth)

UNMASTERFUL SPIRITUALITY

Kristyna Ilek (Independent researcher)


ROOM: ÁG-201

EPISTEMOLOGIES: AFFECT AND CITIZENSHIP

Chair: Julia Boll

LOCATING WOMAN AS A COLLECTIVE SUBJECT IN SOCIALIST-FEMINIST PERFORMANCES: AN

ANALYSIS OF WORK OF STREE MUKTI SANGHATANA IN MAHARASHTRA

Komita Dhanda (Jawaharlal Nehru University)

“THERE WAS NOTHING REMOTELY FUNNY ABOUT YOU”: FEMINIST COMEDY AS POLITICAL

PLAYWRITING

Paola Botham (Birmingham City University)

WHAT IS THIS ‘REEKING REDOLENCE’?: LEFT NOSTALGIA, THEATRICALITY AND SMALL PLEASURES

Ameet Parameswaran (Jawaharlal Nehru University)

CHOOSING A SPOON SIZE TO SUP WITH THE DEVIL OR ENGAGING WITH POLITICALLY REPULSIVE

PERFORMANCES

Marco Galea (University of Malta)


ROOM: A-220

DECENTRING KRUMP DANCE AESTHETICS IN RURAL ENGLAND

Laura Robinson (University of East London)

THE ONE-LEGGED DONATOS: REDEFINING ABILITY THROUGH 19TH CENTURY ENTERTAINMENT

Jason Price (University of Sussex)

18

THE VISCERAL AESTHETICS AND POLITICS OF ‘SKILL’ IN CIRCUS PRACTICES AND PHYSICAL CULTURE

IN COLONIAL BENGAL

Prodosh Bhattacharya (University of Warwick)


ROOM: ÁG-303

Continuation of previous session


ROOM: ÁG-304

QUEER PERFORMANCE PASTS, PRESENTS, FUTURES

Chair: Phoebe Pater-Ferguson

QUEER THEATRE IN A TIME OF COVID-19

Fintan Walsh (Birkbeck University of London)

COMING OUT BLACK: THE POETICS OF BLACK BRITISHNESS IN ‘QUARE’

Vanessa Macaulay (Central School of Speech and Drama)

EVERYTHING I KNOW ABOUT QUEERNESS, I LEARNED THROUGH DEATH, OR TRACING QUEER HOPE

Joe Parslow (Royal Central School of Speech and Drama)

WG 2-38 SAMUEL BECKETT

ROOM: A-051

POST(?)-PANDEMIC NAVIGATIONS

SAMUEL BECKETT AND THE SPACE OF MOURNING

Ulrika Maude (University of Bristol)

STAGE IN DARKNESS BUT FOR [THE DESIGNER AND STAGE MANAGER]

Matthew McFrederick (University of Reading)

WG 2-39 SCENOGRAPHY

ROOM: ÁG-311

SHIFTING AND REPOSITIONING SCENOGRAPHY

Chair: Thea Brejzek

PANDEMIC PEDAGOGIES: DECENTRING SCENOGRAPHIC TEACHING

Lara Kipp (Aberystwyth University)

SCENOGRAPHY-AS-METHOD

Meg Cunningham (Middlesex University)

TREADING THE BORDERLINE – THE ‘SPACE BETWEEN’

Nick Wood (Royal Central School of Speech and Drama)

HYBRIDITY AND COSTUME: MARGINS AS TRANSFORMATIVE SPACES

Donatella Barbieri (London College of Fashion)


ROOM: L-205

AMATEURS IN PROFESSIONAL PRODUCTIONS

Chair: Willmar Sauter

19

MILO RAU AND AMATEUR THEATRE – QUESTIONING THE AUTHENTIC?

Rikard Hoogland (Stockholm University)

ROBERT WILSON’S WORK WITH AMATEURS: RAYMOND ANDREWS AND CHRISTOPHER KNOWLES

Keren Cohen (Ben-Gurion University of the Negev)

CITIZEN STAGE: ITS POTENTIAL FOR CREATING AN OASIS OF DECELERATION

Daria Skjoldager-Nielsen (Stockholm University)


ROOM: O-202

FEMINIST PERFORMANCE PRACTICE AND PUBLIC SPACE

Chair: Andrew Filmer

PORO©ITY IN THE DARKNESS: FEMINIST SCENOGRAPHIES AND THE PUBLIC SPACE

Shauna Janssen (Concordia University), Hari Marini (Ionian University), and Marcela Oteiza (Wesleyan Univ.)

FEMINIST PERFORMATIVE ARCHITECTURES: MAKING SPACE IN AND WITH NON -HUMANS AND

PUBLIC SPACE

Helen Stratford (Sheffield Hallam University)


ROOM: ÁG-101

NEW DRAMATURGIES OF CARE

Chair: Katja Krebs

SHIFTING CENTRES: DEVELOPING A DRAMATURGY OF CARE FOR THE COVID -19 PANDEMIC AND

THE CREATIVE ARTS

Alda Terracciano and Raminder Kaur (University of Sussex)

FROM MARGIN TO CENTER (STAGE): PERSPECTIVES ON DEMENTIA ON THE 21ST -CENTURY NEW

YORK STAGE

Dorothy Chansky (Texas Tech University)

THE VIOLENCE THAT BINDS US – STAGING A THEATRE OF CARE IN THE ADAPTATION OF

DOCUMENTARY FILM INTO VERBATIM THEATRE PERFORMANCE

Stephanie Sandberg (Washington and Lee University)

14:00-15:30 GENERAL PANELS

GP 1-1 PRIVATE AND PUBLIC PERFORMANCE CULTURE IN EAST ASIAN TRADITIONAL THEATRE

(CURATED PANEL)

ROOM: O-202

Chair: Liyang Xia

PERFORMING PRIVATELY – THE WOMEN OF THE THEATRE TEAHOUSES AND KABUKI AT DOMAIN

ESTATES

Tove Bjoerk (Saitama University)

PERIPHERIES OF ELEGANCE: KUNQU AND PUBLIC THEATRE IN QING DYNASTY SUZHOU

Kim Hunter Gordon (Duke Kunshan University)

PRIVATE AND PUBLIC THEATRE SYSTEMS ACROSS THE TAIWAN STRAIT

Josh Stenberg (University of Sydney)

20

GP 1-2 TRANSITIONS, TRANSLATIONS AND DOUBLES - TIMBRE 4, ALMODÓVAR AND IMPOSTERS

(CURATED PANEL)

ROOM: ÁG-422

Chair: Joanna Tompkins

TO BE OR NOT BE – AN IMPOSTOR

Milena Grass (Pontificia Universidad Católica de Chile)

A CASE FOR THEATRICAL NON-TRANSLATABILITY AS DECOLONIAL GESTURE: TIMBRE 4’S DÍNAMO

Jean Graham-Jones (The Graduate Center, City University of New York)

TESTIMONY AND THEATRE: PEDRO ALMODÓVAR’S 'MADRES PARALEL AS'/ 'PARALLEL MOTHERS'

(2021)

Maria Delgado (The Royal Central School of Speech and Drama, University of London)

GP 1-3 APPLIED THEATRE AND PEDAGOGY ON THE MARGIN

ROOM: A-220

Chair: Antine Zijlstra

THEATRE IS GOOD FOR NOTHING AND THEATRE IS GOOD FOR EVERYTHING - THEATRE ON THE

MARGINS OF EDUCATION IN PORTUGAL

Margarida Adónis Torres (Instituto Politécnico de Coimbra)

DECOLONISING THE CURRICULUM: A ROCKY ROAD FROM ‘MARGIN’ TOWARDS ‘MAINSTREAM’

Valerie Kaneko-Lucas (Society for Theatre Research and Performance Preparation Academy)

THEATRE IN CAGE: THE NISIDA JUVENILE PRISON CASE STUDY

Isabella Corvino (University of Perugia)

GP 1-4 TDR FORUM ON ACADEMIC FREEDOM

ROOM: ÁG-201

PARTICIPANTS:

Richard Schechner, Editor

Mariellen Sandford, Associate Editor

Sara Brady, Managing Editor

GP 1-5 CYBER-PERFORMANCE

ROOM: ÁG-311

Chair: Tim White

LIVESTREAM PRIVILEGE

Susan Bennett (University of Calgary)

THE CYBERNETIC CABARET: THE IN BETWEEN IN THE FUN PALACE

Aleksandar Dundjerovic (Birmingham City University) and Maria Jose Martinez Sanchez

THE MELODRAMA OF CRYPTOART

Ilana Khanin (University of Toronto)

GP 1-6 ARCHITECTURE, PROPERTY AND THE CITY

ROOM: ÁG-304


21

ESTABLISHING A NEW CULTURAL CENTRE TO REVITALIZE PARISH NEXT TO THE CAPITAL

Kristiina Reidolv (Cultural and Educational Centre Viimsi Artium)

INTIMATE CITIES

Daniel Tércio (INET-MD)

NEW PERIPHERIES TO PROPERTY IN POST-BREXIT LONDON THEATRE

Michael Meeuwis (University of Warwick)

GP 1-7 HISTORY AS PERFORMANCE HISTORY (CURATED ROUNDTABLE)

ROOM: ÁG-301

Chair: Sharon Aronson-Lehavi

PARTICIPANTS:

Tracy C. Davis (Northwestern University)

Peter W. Marx (University of Cologne)

Vicki Ann Cremona (University of Malta)

Ameet Parameswaran (Jawaharlal Nehru University)

GP 1-8 TENSIONS OF RACE AND NATIONS

ROOM: L-201

Chair: Patrick Lonergan

BLYTH'S EXPANDING CANADA

Taylor Graham (University of Guelph)

ESSENTIAL EQUITY: EXPLORING STORYTELLING THROUGH LYNN NOTTAGE’S INTIMATE APPAREL

Winter Phong (University of Kentucky)

THE RISE AND PERFORMANCE OF PAN(DEM)IC ON THE STREETS: ON #STOPASIANHATE CRIMES

AND DISPOSABILITY OF MIGRANT WORKERS

Allen Baylosis (University of British Columbia)

GP 1-9 CONTEMPORARY CHALLENGES IN POLITICAL THEATRE

ROOM: L-103

Chair: Trish Reid

PLAZA THEATRE BLACK TENT: THEATRE AS PUBLIC PLAZA WITHIN A PLAZA

Jirye Lee (Ohio State University)

POLITICAL ETHOS IN CONTEMPORARY PORTUGUESE THEATRE: ON TIAGO RODRIGUES ’

PERFORMANCES

Rui Pina Coelho (University of Lisbon)

RE-INTERPRETING THEATRE ARCHITECTURE THROUGH AVANT-GARDE: EXPERIMENTAL, AVANT-

GARDE THEATRE IN PHOCAEA

Elif Öztek (Muğla Sıtkı Koçman University)

GP 1-10 INTERNATIONAL QUEER PERFORMANCE PERSPECTIVES (QUEER FUTURES WG

SPONSORED PANEL)

ROOM: L-102

Chair: Stephen Farrier

22

IN THE MIDDLE / OF NOWHERE: LIVE ART AND QUEER PERFORMANCE IN SCOTLAND

Stephen Greer

REIMAGINING QUEER FUTURES THROUGH SEX-POSITIVE THEATRE

Joy Brooke Fairfield and Jean O'Hara

A DEATH WORTH DYING: DECOLONIAL QUEER RESISTANCE UNDER THE SURVEILLANCE OF THE

NEW AND MORE EFFICIENT DICTATORSHIP OF GLOBAL PHARMACOLOGY IN POST POST -PINOCHET

CHILE

Rodrigo Canete

16:00-17:30 OPENING CEREMONY

OPENING CEREMONY

LOCATION: UNIVERSITY CINEMA

Chair: Sigríður Lára Sigurjónsdóttir

WELCOME ADDRESSES

Lilja Dögg Alfreðsdóttir, Minister of Culture and Business Affairs

Jón Atli Benediktsson, Rector of the University of Iceland

Elaine Aston, President of IFTR

WINNERS OF THE NEW SCHOLARS PRIZE AND THE HELSINKI PRIZE

Maria Delgado, New Scholars‘ Prize Sub-Committee Chair

KEYNOTE LECTURE

ESCAPE FROM THE EDGE OF NOWHERE: WRITING THEATRE HISTORY ON A FLOATING ISLAND

Magnus Thorbergsson

17:30 WELCOME RECEPTION

LOCATION: UNIVERSITY CINEMA FOYER

23

DAY 2 TUESDAY 21 JUNE 2022


GP 2-11 PERFORMING THE STRANGER - STAGING THE OUTSIDE IN CONTEMPORARY RUSSIAN

THEATRE (CURATED PANEL)

ROOM: ÁG-201

Chair: Silvija Jestrovic

STAGING THE OTHER – CONTESTING NATIONALISM IN CONTEMPORARY RUSSIAN THEATRE

Yana Meerzon (University of Ottawa)

THE POSSIBILITY OF AN OUTSIDE: RADICAL FEMINIST PERFORMANCE IN POST -SOVIET RUSSIA

Julia Listengarten (University of Central Florida)

ADVENTURES OF A LATE-SOVIET SUBJECT IN DMITRY VOLKOSTRELOV’S “1968. THE NEW WORLD”

Varvara Skiez (University of Warwick)

GP 2-12 VIRAL SPECTATORSHIP OF COVID -19-TIMES

ROOM:

Chair: Lynne Kendrick

MONOVLOG: VIRUS, VIRAL, VARIANT IN DIGITAL THEATRE IN THE PHILIPPINES

Olivia Kristine Nieto (University of the Philippines Diliman, Philippines)

BEST SEAT TO RUN AND GUN – BEGINNINGS OF MULTI-VIEW STREAMING KINESTHETIC

SPECTATORSHIP IN LIVE ARTS

Ljubisa Matic (Independent Scholar)

ECHOES OF THE FRAGILE CITY: THE HOUSE AS A WORLD AND A STAGE

Antoni Ramon Graells and Tomàs Ivan Alcázar Serrat (Universitat Politècnica Catalunya)

GP 2-13 THEATRICAL INFLUENCES

ROOM: O-202

Chair: Anna Thuring

FABRIC ON THE MARGINS: THE CURTAIN AS A DRAMATURGICAL TOOL IN HENRIK IBSEN’S

ROSMERSHOLM

Ruth Schor (Tel Aviv University)

A MIDSUMMER NIGHT'S BOLLYWOOD DREAM IN HAWAI‘I: TRIUMPHS AND TRIBULATIONS

Sai Bhatawadekar (University of Hawaii at Manoa)

AT THE JACOB'S WELL. JAPANESE NŌ THEATRE ADDRESSING CONTEMPORARY CENTRE -PERIPHERY

TENSIONS. 

Jakub Karpoluk (Polish-Japanese Academy of IT, New Media Arts Dept.)

GP 2-14 REORIENTING THE GLOBAL BECKETT (SAMUEL BECKETT WG SPONSORED PANEL)

ROOM: A-220

Chair: Trish McTighe

“BEYOND THE GULF”: REMAPPING SAMUEL BECKETT

Nicholas Johnson (Trinity College Dublin)

24

“AM I RIGHT IN THE CENTRE?” – GEOGRAPHICAL “COMPLICATIONS” IN SAMUEL BECKETT'S

WAITING FOR GODOT AND ENDGAME

Céline Thobois (Trinity College Dublin)

“AT ME TOO SOMEONE IS LOOKING, OF ME TOO SOMEONE IS SAYING”: THE METATHEATRICAL

SUBJECT-OBJECT DICHOTOMY IN WAITING FOR GODOT

Teresa Rosell Nicolás (University of Barcelona)

GP 2-15 ASPECTS OF SITE

ROOM: ÁG-304

Chair: Bernadette Cochrane

PERFORMING MARY MAGDALENE IN IDEOLOGICAL SITES: RETHINKING THE CENTRE -PERIPHERY

DISTINCTION

Nora Anny Samosir (LASALLE College of the Arts), Nidya Shanthini Manokara and Lionel Wee

XENO/EXO/ASTRO/CHOREOREADINGS

Simo Kellokumpu (University of the Arts Helsinki)

SHIFTING TIME FRAME: MULTIPLE NOW’S AND HERE’S

Riina Oruaas (University of Tartu)

GP 2-16 SHIFTING SPECTATORSHIP

ROOM: ÁG-311

Chair: David Calder

DANCE IN NON-MUSICAL TV: HAPTIC VISUALITY AND EXPERIENCE

Dara Milovanovic (University of Nicosia)

AUDIENCE DRAMATURGIES OF DISAGREEMENT – THE ‘CENTRE’ AS A POINT OF EXCHANGE?

Siemke Boehnisch (University of Agder)

‘THE OUTSIDE ALWAYS GETS IN’: SHIFTING CENTRES AND CONVIVIALITY IN SAMEENA HUSSAIN’S

BAABUL

Dave Calvert (University of Huddersfield)

GP 2-17 PERFORMING DEMOCRACY

ROOM: ÁG-422

Chair: Julia Boll

CREATIVE DEMOCRACY: BETWIXT AND BETWEEN APPLIED DRAMA AND DELIBERATIVE

DEMOCRACY

Courtney Helen Grile (Trinity College, Dublin)

NETWORKED SPACES OF EXPERIMENTAL THEATRE IN STATE SOCIALIST HUNGARY

Kornélia Deres (ELTE University & CEU IAS)

GP 2-18 POPULAR ENTERTAINMENT

ROOM: L-102

Chair: Jason Price

FUN PALACES: DREAMING SPACES FOR POPULAR THEATRE

Nigel Ward (University for the Creative Arts)

25

REFRAMING POETIC DRAMA: THE POPULAR IN THE PLAYS OF JOHN ASHBERY, V. R. LANG, AND

FRANK O'HARA

Izaak Bosman (University of Cambridge)

SHIFTING CENTRES: RE-ROUTING AFRICAN THEATRE TO RECKONING THROUGH POPULAR MEDIA

Izuu Nwankwo (Johannes Gutenberg University Mainz) and Chukwuma Okoye (University of Ibadan)

GP 2-19 PERFORMING QUEERNESS

ROOM: L-103

Chair: Joe Parslow

THE STAGED CLOSET: QUEER PERFORMANCE IN MALTESE THEATRE IN POST -COLONIAL MALTA

1974-2009

Tyrone Grima (Malta College for Arts, Science and Technology (MCAST))

FROM PERIPHERY TO CENTRE: PERFORMING KURDISH TRANS* CHILDHOOD AND NATIONAL

ABJECTION IN TURKEY

Ahmet Berkem Yanıkcan (Kadir Has University)

PLAY ON THE PERIPHERY: SEXUALITY, DISABILITY, AND KINK AS CRITICAL RESISTANCE IN

CONTEMPORARY QUEER PERFORMANCE

Hannah Probst (Leipzig University)

GP 2-20 XIXTH CENTURY ON PERIPHERIES (CURATED PANEL)

ROOM: ÁG-301

Chair: Kate Newey

CENTRE/PERIPHERY AND THE DEMISE OF THEATRE FAN CULTURES OF THE PAST

Agata Łuksza (University of Warzaw)

THE INVENTION OF THEATRICAL SILENCE IN 19TH-CENTURY HUNGARIAN THEATRE. DECENTRING

THEATRE HISTORY THROUGH HISTORICAL SOUNDSCAPE RESEARCH

Levente T. Szabó (Babes-Bolyai University)

IRA ALDRIDGE IN PRAGUE: DISCUSSING RACE IN THE 19TH-CENTURY CZECH LANDS

Klara Skrobankova (Theatre Institute Prague)

GP 2-21 DECENTRING CANONICAL PLAYWRIGHTS

ROOM: L-201

Chair: Mary Noonan

FROM CENTRE TO THE PERIPHERY: ANDRÉS BELLO’S CHILEAN TRANSLATION OF TERESA BY

ALEXANDRE DUMAS (1839)

Andrea Pelegri Kristic (Pontificia Universidad Católica de Chile)

CENTRE STAGE: ARNOLD WESKER SHIFTING PLACES AS AUTHOR -DIRECTOR?

Anne Etienne (University College Cork)

DISPLACING LORCA’S PLAY WITHOUT A TITLE AT THE CENTRO DRÁMÁTICO NACIONAL

David Rodriguez-Solas (University of Massachusetts Amherst)

26

11:00-12:30 NEW SCHOLARS FORUM

NSF 1-1 CENTRING THE PERIPHERY (BODY, OBJECTS, AND THEATRE GROUPS)

ROOM: A-052


REBELLIONS FROM THE PERIPHERY: OBJECTS IN 'HEDDA GABLER' AND 'FEFU AND HER FRIENDS'

Ishita Krishna (University of York)

ΙN THE MIDDLE OF "NOWHERE": THE BODY BETWEEN CENTRE AND PERIPHERY

Kyriaki Demiri (University of Athens)

BRATISLAVA VERSUS THE REGIONS: THE CENTRE (S) OF SLOVAK INDEPENDENT THEATRE SCENE

Zuzana Timčíková (Institute of Theatre and Film research Art Research Centre Slovak Academy of Sciences)

PER(VER)FORMATIVE ASPECTS OF THE PANDEMIC FASHION PERFORMANCES

Petra Egri (University of Pécs)

CONSIDERING THE CENTRE AND THE PERIPHERY IN CONTEMPORARY PERFORMANCE MAKING

Rory Foster and Aiden Ross (Rose Bruford College)

NSF 1-2 SOCIAL SPACE, PUBLIC SPHERE AND COMMUNITIES

ROOM: A-220

Chair: Meike Wagner

THE STUDY OF CONTESTED SOCIAL SPACE: PERFORMATIVE DIALOGUES ON SOCIAL EXP-ACT-

ATIONS

Nikolena Nocheva (Charles University in Prague)

LAUGHTER IN CRISIS: PANDEMIC, LOCKDOWN AND HEGEMONIC AUTHORITARIANISM

Arun Patel (Jawaharlal Nehru University)

OPEN HEARING - LEGAL DOCU DRAMA AS A NEW CENTER OF JUSTICE

Shlomit Cohen-Skali (Tel Aviv University)

SALPÊTRIÈRE’S “BALL OF THE FOOLS”: 19TH CENTURY FRENCH SOCIAL DANCE AND THE

INSTITUTIONALIZATION OF GENDER AND DISABILITY

Laura Smith (UCLA School of the Arts and Architecture)

NSF 1-3 DIGITAL PERFORMANCES, NEW MEDIA, AND LIVENESS

ROOM: ÁG-201

Chair: Peter Marx

OUR HOUSE: TRANSMEDIA THEATRE AND DESIGNING A DIGITAL PERFORMANCE IN SOCIALLY -

DISTANCED TIMES

Adisti Regar (University of South Australia)

DANCING WITH DEATH: PERFORMANCES OF RESISTANCE IN THE VIRTUAL CHURCHYARD

Donielle Carr

FRESH BLOOD: REVAMPING DRACULA IN THE SEARCH FOR MEDIUM SPECIFICITY. A PRACTICE -AS-

RESEARCH PROJECT

Joshua Cannon (Lancaster University)

CLOSENESS AND MUTABILITY: REDEFINING LIVENESS

Leo Marko (Stockholm University)

27

NSF 1-4 FEMINIST GROTESQUE, NON -HUMAN, AND THE SUPERNATURAL

ROOM: ÁG-301

Chair: Elin Diamond

»TO REMEMBER MEANS TO CONJURE UP« – TRACES OF FEMINIST EPISTEMOLOGIES IN

›GROTESQUE‹ PERFORMANCES

Anna-Lu Rausch (University of Cologne)

WITCHES AS WITNESS IN THE STAGING OF VIOLENCE: DECENTRING THE SUPERNATURAL IN YAEL

FARBER’S 2021 MACBETH

Gill Lamden Kilgarriff (Queen Mary University of London)

WITCH-HUNTING AS WOMAN-HUNTING. A FEMINIST DE COLONIAL READING OF MACBETH

Macarena Andrews (Pontificia Universidad Católica de Chile)

NSF 1-5 INTERCULTURAL THEATRE

ROOM: ÁG-304

Chair: Marcus Tan

THEATRICAL REPRESENTATIONS OF MASCULINITIES IN THE WORKS OF MARCUS YOUSSEF: THE

DEMONIZED MIDDLE EASTERN IDENTITY

Arash Isapour (University of Victoria)

READING THE TAOIST FREEDOM, 'XIAOYAO,' PERFORMED IN LIN ZHAOHUA’S ADAPTATION OF

'THE CHERRY ORCHARD'

Chengyun Zhao (Trinity College, Dublin)

MIGRANT SHAKESPEARE: CROSSING BORDERS IN SEARCH OF DISPLACED IDENTITIES

Naz Yeni (Anglia Ruskin University)

THE GREEK TRAGIC SPIRIT IN THUNDERSTORM AND LIVING QUARTERS

Bao Jia (Taiyuan University of Technology)

NSF 1-6 PERFORMANCE FESTIVALS – I (CURATORIAL PRACTICES AND CULTURAL POLICIES)

ROOM: ÁG-311

Chair: Maria Delgado

IN-BETWEEN THEATRE AND MUSEUM: PERIPHERAL SPACE OF FUTURE PERFORMING ARTS

INSTITUTIONS INSPIRED BY THE STRUCTURE OF THE LIVING ART MUSEUM (NÝLÓ)

Agnieszka Jakimiak (Royal Holloway, University of London)

BITEF: A HETEROTOPIA ON THE EU PERIPHERY

Alice Golisano (University of Warwick)

CURATING RESISTANCE/RESISTING CURATION: CURATORS AND ARTISTS DISCUSS PERFORMANCE

IN PUBLIC SPACE

Chris Dupuis (Katholieke Universiteit Leuven Kulak)

NSF 1-7 THEATRE TECHNOLOGY

ROOM: ÁG-422

Chair: Tim White

THEATRE TECHNOLOGY AND CULTURAL INFRASTRUCTURE: THOUGHTS ON THEATRE, TECHNOLOGY

AND STANDARDIZATION

Halvard Schommartz (Free University of Berlin/ Berliner Hochschule für Technik)

28

NOVEL AFFORDANCES OF PRESENCE IN MIXED REALITY NARRATIVES

Matthew Soson (Arizona State University)

STAGES OF PARTICIPATION

Dorottya Mátravölgyi (Eötvös Loránd University)

NSF 1-8 PERFORMANCES OF RESISTANCE

ROOM: L-102

Chair: Bishnupriya Dutt

LABOUR AND FOOD: READING THE WOMEN SONGS FROM MARWAR

Mukesh Kulria (University of California Los Angeles)

UNDERSTANDING THE INDIAN FARMERS’ MOVEMENT THROUGH PUNJABI FOLK

Navkiran Natt

FROM TURTLE ISLAND TO PALESTINE: DOCUMENTARY THEATRE COLLABORATIONS IN THE

REHEARSAL ROOM

Ash Marinaccio (The Graduate Center, CUNY)

DANCING SHARECROPPERS: JANE DUDLEY’S AND PEARL PRIMUS’S BORDER CROSSING BLUES

Jessica Friedman (Northwestern University)

THE CHARRÚA: RECONSTITUTING THE INDIGENOUS IDENTITY IN URUGUAY

Maria Litvan (The Graduate Center, CUNY)

NSF 1-9 POPULAR ENTERTAINMENTS

ROOM: L-103

Chair: Vicki Ann Cremona

I FEEL PRETTY: USING DISCRETIZATION TO UNPACK GENDER DISPARITY IN MUSICAL THEATRE - A

STUDY OF LEONARD BERNSTEIN’S WEST SIDE STORY

Erin McKellar (The University of Sydney)

FROM ‘NOWHERE’ TO ‘NOW(AND)HERE’: SHIFTING CENTRES IN MUSICAL THEATRE

Faye Rigopoulou (University of Exeter)

VANISHED WITH A TRACE: ABSENCE AND ADVERTISING IN BUFFALO BILL'S WILD WEST

Jessica Adam (The Graduate Center CUNY)

PATH-NATYA (STREET PLAYS) TO MAHA-NATYA (MEGA PLAYS): A JOURNEY OF THEATRE ARTISTS

OF VIDARBHA REGION OF MAHARASHTRA

Surendra Wankhede (Jawaharlal Nehru University)

BHAVAI, GENDER AND CASTE: A HISTORICAL INTERROGATION OF THE MARGINALIZATION OF

FOLK-THEATRE IN NINETEENTH CENTURY WESTERN INDIA

Abhimanyu Acharya (University of Western Ontario)

NSF 1-10 POSTCOLONIAL PRACTICE AND PERFORMANCES

ROOM: L-201

Chair: Jean Graham Jones

INTERACTION BETWEEN THE CENTRE AND MARGIN: A POSTCOLONIAL STUDY OF SELECT INDIAN

AND NIGERIAN PLAYS

Mitali Bhattacharya (Guru Gobind Singh Indraprastha University)

29

“BRAZZAVILLE-LIMOGES ALLER-RETOUR”: TOWARDS NEW CENTRES IN FRANCOPHONE AFRICAN

THEATRE, 1959-2019

Sky Herington (University of Warwick)

A PLACE OF POSTCOLONIAL RESISTANCE IN THE CENTRE. THE MAXIM GORKI THEATER I N BERLIN

Johanna Munzel (Justus-Liebig-University Giessen)

MEDEA MATERIAL (1991) BY MAPA TEATRO: RECONFIGURING HEINER MÜLLER’S POSTCOLONIAL

REWRITING OF THE MEDEA MYTH FROM A COLOMBIAN PERSPECTIVE AND HYBRID THEATRICAL

LANGUAGES

Martina Flores Mendeville (University of Amsterdam)

BADAL SIRCAR’S 'THEATRE OF CONSCIENCE': WHAT DO WE LEARN?

Munia Debleena Tripathi (University of Toronto)

NSF 1-11 TEXT, LANGUAGE, STRUCTURE, AND INTERPRETATION

ROOM: O-202

Chair: Milija Gluhovic

ECHOES FROM THE ABYSS: ENACTION OF DENARRATION AND THE UNSTAGEABLE IN DEAD

CENTRE’S LIPPY

Huayu Yang (Trinity College, Dublin)

METATHEATRE AND THE PROLOGUE OF AJAX

Tzi-Yu Hung (National Taiwan University)

FACILITATING ACCESSIBILITY OF MULTILINGUAL STAGE TEXTS: A RECONFIGURATION OF THE

‘TRANSLATOR AGENCY’ IN THE PRODUCTION PROCESS

Eline Denolf (Ghent University)

USE OF LANGUAGE IN MINORITY CULTURAL HERITAGE

Berber Aardema (University of Groningen)

AN EMBODIED THEOLOGICAL EXPLORATION OF DANCE AS INTERCESSION: AN - סבב

INTERSUBJECTIVE AND PERFORMATIVE PROCESS

Samantha Harper Robins (Coventry University)

12:30-14:00 LUNCH / NEW SCHOLARS WORKSHOP I

NEW SCHOLARS WORKSHOP I: CENTRING RESEARCH

ROOM: UNIVERSITY SQUARE

CONTRIBUTORS

Elaine Aston

Milija Gluhovic

Magnus Thor Thorbergsson


GP 3-22 ISOLATION AND CLOSENESS

ROOM: ÁG-304

Chair: Ramona Mosse

30

HOW TO CHOREOGRAPH A TOUCH IN THE ONLINE ENVIRONMENT

Ivana Slunjski (Independent researcher)

ISOLATION IN LENIN AL-RAMLĪ’S WORK

Tiran Manucharyan (University of St Andrews)

“A CENTER WHICH IS NOT AT THE CENTER”. ON ACTION, TIKTOK AND THE SHIFT OF THE PUBLIC

REALM UNDER THE TECHNOLOGICAL CONDITION

Jurgita Imbrasaite (Leuphana University Lüneburg)

GP 3-23 THEATRE INSTITUTIONS AND THE INDEPENDENT FIELD

ROOM: ÁG-422

Chair: Christopher Balme

CO-PRODUCING IRELAND’S NATIONAL THEATRE: BETWEEN THE ABBEY THEATRE’S NEOLIBERAL

PRODUCTION MODEL AND THE LOCAL THEATRE’S ECO -SYSTEM (2016-2021).

Brian Singleton (Trinity College, Dublin)

WHO HAS ACCESS TO THE CENTER? AN INSTITUTIONAL PERSPECTIVE

Alexandra Portmann (University of Bern)

INDEPENDENT PERFORMING ARTS BETWEEN INSTITUTIONAL CONSOLIDATION AND PRECARITY – A

COMPARATIVE EUROPEAN PERSPECTIVE

Thomas Fabian Eder (Ludwig Maximilian University of Munich)

GP 3-24 ON CARE (POLITCAL PERFORMANCES WG SPONSORED PANEL )

ROOM: ÁG-301

Chair: Trish Reid

A GRAMMAR OF CARE: EMBODIMENT AND TRANSITIONAL JUSTICE IN CONTEMPORARY

COLOMBIA

Maria Estrada Fuentes (Royal Holloway, University of London)

CARE, MAINTENANCE, AND CREATIVE MUTUAL AID

Chloe Johnston (Lake Forest College)

PERFORMING THE 'UGLY FEELINGS' OF CARE: DRAMATURGIES OF DISRUPTION AND RESISTANCE

DURING THE PANDEMIC

Amanda Stuart Fisher (Royal Central School of Speech and Drama)

GP 3-25 MARGINAL VOICES – INVISIBLE BODIES

ROOM: ÁG-311

Chair: Helen Gilbert

VOICING THE MARGINAL – THEATRE PROJECTS OF OLJA LOZICA

Martina Petranović (Croatian Academy of Sciences and Arts)

THE FEW WHINES, THE MANY SCREAMS: PERFORMING INEQUALITY IN THAILAND’S CRACKED

SOCIETY

Rubkwan Thammaboosadee (Bangkok University)

PERFORMANCE OF THE NATIVE PEOPLE ARTISTIC OF BRAZIL

Elisabeth Lopes (Universidade de São Paulo)

31

GP 3-26 STEP: METHODOLOGICAL APPROACHES IN STUDYING EUROPEAN THEATRE AUDIENCES

(CURATED PANEL)

ROOM: L-102

Chair: Joshua Edelman and Antine Zijlstra

DEVELOPING INTERNATIONALLY COMPARATIVE CATEGORIES OF THEATRE TYPES AND GENRES

Hedi-Liis Toome (University of Tartu)

CHALLENGES IN SURVEY DESIGN AND DATA ANALYSIS IN THE CONTEXT OF INTERNATIONAL

COMPARATIVE RESEARCH

Marline Lisette Wilders (University of Groningen)

THE RELATIONSHIP BETWEEN PERFORMANCE ANALYSIS AND QUANTITATIVE AUDIENCE RESEARCH

Attila Szabó (Hungarian Theatre and Museum Institute)

GP 3-27 HISTORIOGRAPHY WG SPONSORED PANEL

ROOM: ÁG-201

Chair: Dorota Sosnowska

AN AMAZING LIFE: PERFORMING QUEER INTERGENERATIONAL HOLOCAUST TESTIMONY

Erika Hughes (University of Portsmouth)

FINDING RUTKA LASKIER

Kenneth Cerniglia

PAST MEETS THE PERFORMANCE: HARRIET (2019) BY MILJA SARKOLA

Hanna Korsberg (University of Helsinki)

THE ABSENT CENTRE: HISTORIOGRAPHY OF THE NON-EVENT

Chris Hay (University of Queensland)

GP 3-28 REMEMBRANCE AND TRAUMA

ROOM: L-103

Chair: Gunnthorunn Gudmundsdottir

TEA, CAKE AND THE SHOAH - STAGING THE SHIFT IN HOLOCAUST REMEMBRANCE IN

CONTEMPORARY ISRAELI THEATRICAL PERFORMANCE

Achinoam Aldouby (Tel Aviv University)

THEATRE IN A WORLD WAR II JEWISH GHETTO: SURVIVOR TESTIMONY, CENTRE AND PERIPHERY

Lisa Peschel (University of York)

AFFECTIVE REPRESENTATIONS OF TRAUMA. THE WAR SPECTACLE IN “MINEFIELD” BY LOLA ARIAS

Javiera Larrain (Pontificia Universidad Catolica de Chile)

GP 3-29 INVESTIGATING INSTITUTIONS

ROOM: O-202

Chair: Michael Bachmann

SHIFTING PERSPECTIVES. CURRENT DISCOURSES OF CRISIS IN GERMAN THEATRE 

Ulrike Hartung (Universität Bayreuth) and Anja Quickert

GIVING UP THE GHOST – INVESTIGATING EDWARD MARTYN’S HAUNTING OF IRISH THEATRICAL

HISTORY THROUGH PRACTICE-AS-RESEARCH 

Martin Kenny (National University of Ireland, Galway)

32

GLOCAL STAGES: NODES AND NETWORKS EVERYWHERE ON EDGE

Loren Kruger (University of Chicago)

GP 3-30 REFOCUSING PERFORMANCE SKILLS

ROOM: L-201

Chair: Peter Zazzali

THE SIX VIEWPOINTS AND THE HORIZONTAL, OR HOW TO BECOME AN ORIGINAL ANARCHIST

Tony Perucci (University of North Carolina at Chapel Hill)

THE CROSSPOINTS ACTING SYSTEM: SPEAKING FROM THE MARGINS OF BUILDING A CHARACTER

Stephen Atkins

GROUND AND CENTER: DEVISING THROUGH CREATIVE SENSORY ATTUNEMENT WORKSHOP

Eric Villanueva Dela Cruz (University of the Philippines Diliman; TAXI Theatre)


GP 4-31 CIRCULATING KNOWLEDGE ACROSS NORTH-WESTERN EUROPE THROUGH

PERFORMANCE AND ENTERTAINMENT (CURATED PANEL)

ROOM: ÁG-304

Chair: Gillian Arrighi

SCIFAIR, OR HOW SCIENCE TOOK CENTRE STAGE AT THE NINETEENTH -CENTURY EUROPEAN

FAIRGROUND

Nele Wynants (University of Antwerp)

DOMINATION AND RECREATION: COLONIALIST LEISURE CULTURES IN THE 1800 LOW COUNTRIES

Sarah Adams (Ghent University)

OUTCASTS OF SOCIETY: ITINERANT SHOW PEOPLE AND THEIR QUEST FOR MORE VISIBILITY

Eva Andersen (University of Antwerp)

GP 4-32 INTERMEDIALITY WG SPONSORED PANEL

ROOM: L-102

Chair: Robert Walton

UNCOVERING THE FIELD: HOW ITALY HAS NARRATED THE DEVELOPMENT OF NEW DIGITAL

PERFORMANCE

Antonio Pizzo (Università degli Studi di Torino)

WOMEN STAGE DESIGNER IN ITALY: THE ROLE OF WOMEN IN THE TECHNO -THEATRE COMPANY

(19885-2020)

Anna Maria Monteverdi (Università statale Milano)

DIGITAL PHOTOGRAPHY PERFORMANCE IN ITALIAN INTERMEDIA THEATRE

Vincenzo Del Gaudio (University of Salerno)

SEPHIROT IL DOPPIOGIOCO – FROM REPRESENTATION TO SIMULATION

Alessandro Anglani (Università degli Studi di Torino)

GP 4-33 ON PUBLIC PROTEST (CURATED PANEL)

ROOM: ÁG-311

Chair: Ameet Parameswaran

33

WOMEN OUT OF NOWHERE: EMBODIED MEMORY AS DISSENSUS

Trina Nileena Banerjee (Centre for Studies in Social Sciences Calcutta)

THE POLICE, THE PROTESTERS, AND THE CLOWN OR A POLICEWOMAN STICKING HEARTS ON

PEOPLE’S FOREHEADS

Diego Rotman (Hebrew University)

HIDDEN IN PLAIN SIGHT: CRIMINALISED WOMEN, CARCERAL SOCIETY AND ECONOMIES OF

PUNISHMENT IN CLEAN BREAK’S SWEATBOX’

Sarah Bartley (University of Reading) and Anne-Marie Greene (University of York)

GP 4-34 FUTURE HISTORIES: HOW BEST TO ADOPT A GLOBAL PERSPECTIVE? (CURATED PANEL)

ROOM: ÁG-201

INTERRUPTED FUTURES: THEATRE, THEATRE STUDIES AND THE DEVELOPMENT PARADIGM

Christopher Balme (Ludwig Maximilian University of Munich)

A WEIRD PERSPECTIVE ON GLOBAL THEATRE HISTORY

David Wiles (University of Exeter)

QUO VADIS? INDIAN THEATRE STUDIES AT THE CROSSROADS

Rashna Darius Nicholson (The University of Hong Kong)

ILLIBERAL GLOBALITIES: THE FUTURE OF COLD WAR THEATRE HISTORIES

Viviana Iakob (Ludwig Maximilians University of Munich)

GP 4-35 (POST-)PANDEMIC PERFORMANCE

ROOM: L-103

Chair: Harry Wilson

SMART STORIES FOR A DISLODGED THEATRE – HOW SONGLINES, STORY-HOLES AND OTHER

INDIGENOUS NARRATIVE SYSTEMS, CAN PROMPT A RE-IMAGINING OF THE AUDIENCE’S ROLE IN

POST-PANDEMIC PERFORMANCE

Elizabeth Swift (University of Gloucestershire)

DISLOCATING PERFORMANCE / DISORGANISING THE GRID: INVENTING A ZOOM DRAMATURGY IN

LAURIE ANDERSON’S NORTON LECTURES AND FORCED ENTERTAINMENT’S END MEETING FOR ALL

Joanna Gwen Mansbridge (City University of Hong Kong)

ABSENT OR ELSEWHERE. ON AIRCRAFT NOISE IN TIMES OF PANDEMIC

Benjamin Wihstutz (University of Mainz)

GP 4-36 SHIFTING SPACE

ROOM: L-201

Chair: Jill Planche

REACTIVE CENTRIFUGAL FORCE: THE ACTION OF SITE-SITUATED PERFORMANCE WITH STATE

HIERARCHY IN IRAN

Azadeh Ganjeh (University of Tehran)

WHAT LIES BEYOND THE FENCE: CONTESTED SPACES, CONFLICTUAL ZONES AND THEATRE UTOPIAS

Avra Sidiropoulou (Open University of Cyprus)

SILVER EPIDEMIC: MULTIPLE DECENTERINGS AT PLAY

Juliana Moraes (State University of Campinas)

34

GP 4-37 TOPOGRAPHIES OF CULTURAL MEMORY (CURATED PANEL)

ROOM: ÁG-301

Chair: Laura Luise Schultz

CENTRE AND PERIPHERY – THE CASE OF THE AVANT-GARDE IN THE NORDIC COUNTRIES IN THE

20TH CENTURY

Tania Ørum (University of Copenhagen)

LILI ELBE’S LIFE NARRATIVE BETWEEN HISTORICAL CASE AND CONTEMPORARY RE -ENACTMENTS

Marianne Ølholm (University of Copenhagen)

THEATRES OF THE STREET: BUILDING COMMUNITY THROUGH CORPOREAL AND VOCAL AGENCY IN

PROTEST PERFORMANCE

Karen Vedel (University of Copenhagen)

SEARCH FOR US! – MATERIALIZING HISTORY IN THE WORK OF CENTER FOR POLITICAL BEAUTY

Laura Luise Schultz (University of Copenhagen)

PERFORMING CULTURAL MEMORY OF GENDER AND COLONIAL POWER

Gunhild Borggreen (University of Copenhagen)

GP 4-38 ABSENCE OF/IN THEATRES

ROOM: O-202

Chair: Ulf Otto

NAVIGATING THE CENTRES AND PERIPHERIES OF THEATRE THROUGH THE SPACE OF VIRTUAL

REALITY

Joanne Tompkins (University of Queensland)

LOCAL AREA NETWORK: HOMETOWN THEATRE AND AUDIENCES IN A PLACELESS ONLINE

THEATRICAL MARKET

Kurt Taroff (Queen's University Belfast)

EXPEL THE HUMANS FROM THE THEATRE – THEATRE OF CHTHONIC PERIPHERIES

Mihai Florea (University of Bristol)

GP 4-39 MUSIC THEATRE WG SPONSORED PANEL

ROOM: A-220

Chair: Tereza Havelkova

STRATEGIES OF THEATRE SOUND BETWEEN SONIC BRANDING, ARTISTIC IDENTITY AND ACOUSTIC

ECOLOGY

David Roesner (LMU Munich)

CHOREOGRAPHY OF VOICE AND VOICELESS-NESS

Michal Grover Friedlander (Tel Aviv University)

THE CURIOS CARNIVAL: BETWEEN THEATRICALITY AND MUSICALITY

Marcus Tan (Nanyang Technological University)

35

GP 4-40 CENTERING MARGINALIZED WOMEN

ROOM: ÁG-422

Chair: Leah Sidi

“SUBORDINATION AND DISSENT: WORKING CLASS WOMEN IN IRISH THEATRE”

Clara Mallon (National University of Ireland Galway) and Salome Paul (Trinity College Dublin)

ENGENDERING DIALOGICAL EMPATHY THROUGH THEATRE: WOMEN AT THE CENTER IN BEATRIX

CENCI 2021

Graça P. Correa (Faculdade de Ciências da Universidade de Lisboa)

PERFORMING REPRODUCTIVE RIGHTS IN NON-THEATRICAL SPACES IN 1970S BRITAIN AND

IRELAND

Eva-Maria Kubin (University of Salzburg)

36

DAY 3 WEDNESDAY 22 JUNE 2022



ROOM: O-203

REPARATORY PERFORMANCE

Chair: Mark Fleishman

CROSS BOUNDARIES AND NEW GEOGRAPHIES IN AFRICAN THEATRE: A CASE OF LORRAINE

HANSBERRY’S “A RAISIN IN THE SUN”

Rasheedah Liman (Ahmadu Bello University Zaria)

THE PARADOX OF THEFT: PERFORMING REPARATION

Sabine Kim (University of Mainz)


ROOM: L-204

STAGING PRECARITY

Chair: Olivia Kristine Nieto

THE SOFT WAR IN THE IRAQI THEATRE POST-2003

Majeed Midhin (University of Anbar)

STAGING MEMORY IN NANA ROSA: THE COMFORT WOMAN NARRATIVE FROM THE PERIPHERY TO

THE CENTER OF PACIFIC WAR HISTORY

Sir Anril Pineda Tiatco (University of the Philippines Diliman; National Research Council of the Philippines)

TRUTHS THAT CHANGE COLOR: INDIA’S INDIRECT VICTIMS OF 9/11

Kristen Rudisill (Bowling Green State University)


ROOM: L-201

ACTING AS A POLITICALLY ENGAGED TRANSFORMATION PRACTICE: THOUGHTS FROM INSIDE THE

CREATIVE PROCESS OF JUVENTUDE INQUIETA, BY TEATRO DO VESTIDO

Gustavo Vicente (University of Lisbon)

WRITING DISORIENTATION AS CHOREOGRAPHY

Leena Rouhiainen and Kirsi Heimonen (University of the Arts Helsinki)

THE HYPERBOLIC TOUCH. DANCE AND TOUCH IN TIMES OF PANDEMIC

Sofia Muñoz (Ludwig Maximilian University of Munich)


ROOM: A-069

CORPORA 1

Chair: Nora Probst

TOWARDS A DIGITAL SYNOPTIC EDITION OF IBERIAN SHORT FARCES

José Pedro Sousa (Centre for Theatre Studies), with Ariadne Nunes

DRAMA CRITIQUES: BETWEEN NUMBERS AND THEATRE

Mylène Maignant (École Normale Supérieure)

37


ROOM: VHV-007

EMBODIED PRACTICES/TRAINING

SHIFTING PHYSICAL THEATRE TECHNIQUES THROUGH FEMINIST SOMAS AND GENDER INCLUSIVE

TRAINING

Amaia Mugica

ARCHI-TEXTURES OF ACCESS: SHIFTING SPACES FOR EMBODIED TRANSMISSION VIA VIRTUAL

ARCHIVAL PRACTICES

Adriana Parente La Selva (Ghent University)

THINKING AT THE EDGE – AN AFFECTIVE METHODOLOGY

Ana Pais (University of Lisbon)

CROSS-POLLINATION: KINAESTHETIC CARTOGRAPHIES FROM THE STUDIO TO THE VILLAGE

Andrea Maciel Garcia (University of Bristol)

DE-CENTRE(ING) BODIES-IN-SPACE

Elizabeth de Roza (The Hong Kong Academy for Performing Arts)

UNDER THE GROUND. POTENTIAL OF THE BODY DUE TO THE CONCEPT OF INDUSTRIAL BODY

Anna Duda (AST National Academy of Theatre Arts)

SOMATIC EPISTEMOLOGIES AS SHIFTING PERSPECTIVE FOR PERFORMANCE RESEARCH: AN

EMBODIED EMBRYOLOGICAL APPROACH

Diego Pizarro (Instituto Federal de Brasília)

EXPERIMENTING WITH STILLNESS

Shabari Rao


ROOM: L-103



ROOM: ÁG-301

NATIONAL/POPULAR TRADITIONS

Chair: David Wiles

THE TRANSNATIONAL YIDDISH THEATRE ARCHIVE

Ruthie Abeliovich (University of Haifa)

THE PERIPHERAL POPULAR: THE CONDITIONS OF ERASURE

Claire Cochrane (University of Worcester)

THEATRE HISTORIOGRAPHIES FOR THE ANTHROPOCENE: DRUID THEATRE, LADY GREGORY AND

COOLE PARK, IN THE MIDDLE OF NOWHERE

Patrick Lonergan (National University of Ireland, Galway)

FROM SIDESHOW TO CENTER RING: THE HISTORIOGRAPHY OF POP ULAR ENTERTAINMENT

Laurence Senelick (Tufts University)

38


ROOM: L-102

MOBILISING CODES, NETWORKS AND POLITICS

Chair: Paul Clarke

BLOODY SECRETS OF THE HEART: STAGING A BUILDING’S SENSATIONS IN A FORTY -TWO-YEAR

DURATIONAL PERFORMANCE

Robert Walton (University of Melbourne)

RESISTING ALGORITHMIC DETERMINATION: FACING THE POLITICAL 'OTHER' IN BLAST THEORY’S

OPERATION BLACK ANTLER

William Lewis (Purdue University)

NO MARGIN FOR ERROR: NOTES TOWARDS A THEORY OF QLAB

Douglas Eacho (University of Toronto)

THE WILD HUNT: THOMAS BELLINCK AND THE POLITICS OF TRUTH

Katia Arfara (New York University Abu Dhabi)


ROOM: A-050

GLOBAL, LOCAL, (POST)COLONIAL II

THE HISTORY OF AN UNPERFORMED OPERA: GEORGE WHITEFIELD CHADWICK’S THE PADRONE

Marianne Betz (Hochschule für Musik und Theater Leipzig)

SITUATING NOËL COWARD IN THE WEST END -V- BROADWAY MUSICAL DEBATE

Laura Milburn (University of Birmingham)

MUSICAL THEATRE BREXIT: THE FUTURE OF ANGLO-CENTRIC MUSICAL THEATRE TRAINING

Alejandro Postigo (University of West London)


ROOM: O-106

CENTRING DISABILITY IN PERFORMANCE I


CREATING AN ‘ARCHIVE’ THAT CENTRES THE LEGACY OF ARTISTS WITH DISABILITY

Bree Hadley (Queensland University of Technology)

COMMUNICATING COVID RISK MITIGATION IN SITE SPECIFIC PERFORMANCE

Kelsie Acton (University of Alberta)

THE MESH THAT HAS NO FRAME: EMBRACING ASSEMBLAGE IN DISABILITY PERFORMANCE

Margaret Ames (Aberystwyth University)

REIMAGINING THE SPATIALITY, TEMPORALITY, AND RELATIONALITY OF ‘CENTRING’ IN LEARNING -

DISABLED THEATRE

Tony McCaffrey (NASDA, Ara Institute)


ROOM: ÁG-422

THE SACRED MASK AND THEIR INFLUENCES FOR THE URBAN RITES MASKS NOWADAYS

Gilberto Conti (Charles University)

39

PERFORMING WITH WASTE/GARBAGE

Priyanka Pathak (Jawaharlal Nehru University)

PERFORMING HUMAN RIGHTS: THE RIGHT OF THE OTHER

Serap Erincin (Louisiana State University)

PERFORMANCE CONVERSATION CONTRIBUTION

Bruce Barton (University of Calgary)

YEKI HAMBE: LET IT GO - A DECOLONIAL FEMINIST ENCOUNTER WITH SEX WORKERS IN SOUTH

AFRICA

Phoebe Mbasalaki (Essex University) and Sara Matchett (University of Cape Town)


ROOM: A-052

SITE SPECIFIC AS PUBLIC SPACE

POINTS OF EXCHANGE: THEATRICAL DECENTERINGS, EPHEMERAL UTOPIAS IN FUN PALACES

Lesley Delmenico (Grinnell College)

TRICKING TIME THROUGH PUBLIC SPACE PERFORMANCE: A TRANSATLANTIC COMPARISON

Rebecca Free (Goucher College)

FINDING PLACE(S) TO BE: PERFORMING ‘HOME’ IN PUBLIC SPACE

Maria Tivnan (National University of Ireland, Galway)


ROOM: ÁG-310

SPECIAL SESSION: COMMEMORATING KIM SKJOLDAGER-NIELSEN’S LIFE AND WORK

FOR KIM SKJOLDAGER-NIELSEN: THINKING COMMUNITY, PRESENCE, AND THE COSMIC WITH MY

FRIEND

Josh Edelman (Manchester Metropolitan University)

GROUP READING AND DISCUSSION


ROOM: ÁG-201

EPISTEMOLOGIES: USES OF HISTORY

Chair: Liz Tomlin

TAMING THE TERRORS AND DEFANGING REVOLUTION: JOËL POMMERAT’S 'ÇA IRA (1), FIN DE

LOUIS'

Caoimhe Mader McGuinness (Kingston University)

THE WILDERNESS, THE PLANTATION, AND THE SHIFTING GROUND OF THE US HISTORY PLAY

Benjamin Poore (University of York)

WITCH HUNTS AND THE CRITIQUE OF OIKONOMIA

Julia Boll (University of Hamburg)

ANGLO-AMERICAN POLITICS AND THE PERFORMANCE OF EXCEPTIONALIST MYTHS

Julia Peetz (University of Warwick)

40


ROOM: A-220

BUSINESS MEETING


ROOM: ÁG-303

MÉTHODES DE RÉPÉTITIONS (IMPROVISATION, ÉCOUTE, MIME CORPOREL)

REHEARSING BY LISTENING? PROCESS OF RESTITUTION OF AUDIO DOCUMENTS BY THE

PERFORMERS OF EMILIE ROUSSET AND JORIS LACOSTE / RÉPÉTER À L’OREILLE ? PROCESSUS DE

RESTITUTION DE DOCUMENTS SONORES PAR LES INTERPRÈTES D’EMILIE ROUSSET ET DE JORIS

LACOSTE

Marion Boudier (Université Picardie Jules Verne)

PROCESSUS DE CRÉATION ET ÉCRITURES DE PLATEAU

ÉCRIRE AU CONTACT DE LA SCÈNE EN BELGIQUE FRANCOPHONE: UN NOUVEL ATELIER

D'"ÉCRITURE DE PLATEAU" DIRIGÉ PAR PAUL POURVEUR

Élise Deschambre (Université catholique de Louvain, F.R.S.-FNRS)

IMMERSIVE CAPTURES OF THE ACTING EXPERIENCE: RESEARCH ON THE CREATIVE PROCESS OF

THE PLAY KAORI OF TEATROCINEMA

Pablo Cisternas (Independent researcher)


ROOM: ÁG-304

CONCERNING QUEER PERFORMANCE

Chair: Fintan Walsh

INTENTION/IN-TENSION. SOME REFLECTIONS ON THE WHERE OF QUEER PERFORMANCE

Stephen Farrier (Royal Central School of Speech & Drama, University of London)

(INTER)DISCIPLING THE QUEER EDUCATOR

Eugene Riordan Jr (University of California, Santa Barbara)

THEATER AND PERFORMANCE AS A STRATEGICAL QUEER PERSPECTIVE IN FRENCH CONTEXT

Stefania Lodi Rizzini (University of Paris III: Sorbonne Nouvelle)


ROOM: A-051

GENDERED SPACES AND TIMES

Chair: TBC

ABSENCE AND DENIAL: AN EXAMINATION OF THE ECOLOGICAL GENDER CRISIS IN SAMUEL

BECKETT PRODUCTIONS

Jessica Perich Carleton (Univeristé de Lille)

SITE AS ARCHIVE IN COMPANY SJ’S THE WOMEN SPEAK

Chloe Duane (University of Reading)

41

WG 3-61 SCENOGRAPHY

ROOM: ÁG-311

MAPPING MATERIAL AND DIGITAL AUTHENTICITES

Chair: Jacki Willson

THE DOMESTIC KITCHEN AS MARGINAL SCENOGRAPHY: FEMALE ARTISTS VS THE HOUSEWIFE

Athena Stourna (University of the Peloponnese and CYA-College Year in Athens)

DESIGNING AUTHENTIC DIGITAL SCENOGRAPHY: A MIXED METHODS STUDY OF AUSTRALIAN

SCENOGRAPHIC PRACTICE

Tessa Rixon (Queensland University of Technology)

‘THE MAP IS NOT THE TERRITORY’, OR: SOME THOUGHTS ON MODELS OF REALITY IN

SCENOGRAPHY

Thea Brejzek (University of Technology (UTS), Sydney) and Lawrence Wallen

PLACES TO MEET. WE COULDN’T BE APPIA...

Simon Banham (Aberystwyth University)


ROOM: L-205

EDUCATIONAL/CHILDREN

Chair: Peter Eversman

TECHFORMANCE – SHIFTING CENTRES BY PERFORMANCE PRACTICES WITH THE YOUNG AUDIENCE

AS CO-CREATOR

Sandra Grehn (Linnaeus University)

CENTERING THEATRE IN THE MARGINS: THEATRE FOR YOUNG AUDIENCES IN CANADA

Nathan Pronyshyn (University of Calgary)

LUDIC LEARNING: THEATRE, PERFORMANCE, PLAY AND EDUCATIONAL INNOVATION

Ian Watson (Rutgers University)


ROOM: O-202

SPATIAL INTERVENTIONS AND SPACES OF RESISTENCE

Chair: Dorita Hannah

A COMPLEX SPACE OF UNDERSTANDING AND QUESTIONING HUMANITY: THE IMMANENT SPACE

OF THEATRE IN THE BACKYARD’S IS HE MAD?

Jill Planche (Brock University and Ryerson Chang School)

MARGINAL SCENOGRAPHICS: THE CASE OF NICOSIA, CYPRUS

Marina Hadjilouca (Rose Bruford College)

SPACE FOR HAUNTING: SITE-SPECIFIC THEATRE AS METHOD FOR ENGAGING COMPLEX HERITAGE

SITES

Alexandra Halligey (Johannesburg Institute for Advanced Study, University of Johannesburg)

THE ARMAZÉM DA UTOPIA (UTOPIA WAREHOUSE): A PERFORMANCE SPACE AS A LOCUS FOR

STRUGGLE AND RESISTANCE

Evelyn Furquim Werneck Lima (The Federal University of the State of Rio de Janeiro)

42


ROOM: ÁG-101

SHIFTING DRAMATURGICAL PRACTICES

Chair: Stephanie Sandberg

DRAMATURGICAL ADJACENCIES: PARATEXTUAL AUGMENTATION OF PERFORMANCE

Bernadette Cochrane (University of Queensland)

ECCENTRICITY: ATTEMPTING TO LOCATE NEW CIRCLES OF DIVERSITY IN AUSTRALIAN

DRAMATURGICAL PRACTICE

Shane Pike (Queensland University of Technology)

'ROVERS': A CASE STUDY OF ALLYSHIP, TRANSCULTURAL PERFORMANCE AND DRAMATURGY IN

CONTEMPORARY AUSTRALIAN THEATRE

Kathryn Kelly (Queensland University of Technology)

A POSTCOLONIAL THEATRE OF THE ABSURD? THE CASE OF BADAL SIRCAR’S EVAM INDRAJIT

John Yves Pinder (Leuphana University Lüneburg)



ROOM: O-203

DECENTERING SCHOLARSHIP & METHOD

Chair: Sabine Kim

WHAT IS A CLASSIC? 3.0: SHIFTING CENTRES AND CLASSICAL FORMS IN SOME CONTEMPORARY

SOUTH AFRICAN THEATRE

Mark Fleishman (University of Cape Town)


ROOM: L-204

DECENTERING THE TRADITIONAL

Chair: Tsu-Chung Su

PERFORMING TAGORE AT THE MARGINS OF SANTINIKETAN: DECENTERING A MODERN -

TRADITION, THE CASE OF SAHITYIKA

Rajdeep Konar (IIT Delhi)

DEMYTHOLOGISING JAPANESE CULTURAL SYMBOLS IN YUDAI KAMISATO’S HAPPY PRINCE FISH

Beri Juraic (Lancaster University)

PEOPLE’S WORSHIP: SHAKING CENTERS OF POWER IN BONIFACIO ILAGAN’S PAGSAMBANG BAYAN

Davidson Oliveros (University of the Philippines Diliman)


ROOM: L-201

“DRESSING THE CITY”: LIMINAL URBAN SPACES

Alexandra Kolb (University of Roehampton)

CYCLES OF RUPTURE AND REPAIR: ADOPTEE PHENOMENOLOGY AND VINCENT DANCE THEATRE’S

IN LOCO PARENTIS

Nigel Stewart (Lancaster University)

43

PATHWAYS: WALKING AND THE MAKING OF PLACE IN THE MALTESE ISLANDS

Paula Guzzanti (University of Malta) and John D’Arcy (Queen’s University Belfast)


ROOM: A-069

CORPORA 2

Chair Nora Probst

TRACING THEATRE TECHNIQUES OF WORLD (RE)PRODUCING. A DISTANT READING APPROACH TOWARDS THE METAPHORISATION OF HISTORICAL CONCEPTS OF THEATRE PERFORMANCE Gabriel Viehhauser (University of Stuttgart) and Kirsten Dickhaut

WHAT TO DO WITH 5.000 PERFORMANCES? – VIDEO COLLECTIONS, COMPUTER VISION AND SHIFTING ATTENTION Ulf Otto (Ludwig Maximilian University of Munich)


ROOM: VHV-007



ROOM: L-103



ROOM: ÁG-301

DECENTRING ENGLISH/THE WEST

Chair: David Coates

SHIFTING TERMINOLOGIES: NAMING PERFORMANCE ART IN ITALY BETWEEN THE 1960S AND

1970S

Tancredi Gusman (University of Rome Tor Vergata)

A HORIZONTAL HISTORY OF THE PERFORMATIVE TURN

Marcin Kościelniak (Jagiellonian University)

FROM THE MARGINS TO THE CENTRE: THE WORKERS ’ STAGE IN SLOVENIA IN THE 1930S

Aldo Milohnić (University of Ljubljana - Academy of Theatre, Radio, Film and Television)

ANGELS IN AMERICA. THE TRANSITION AND POLISH POLITICAL THEATRE

Dorota Sosnowska (University of Warsaw)


ROOM: L-102

RETHINKING PARTICIPATION, AUGMENTING REALITY

Chair: Tim White

“WHERE IS THE AUDIENCE?”: SHIFTING CENTRES OF PARTICIPATION IN MIXED REALITY

PERFORMANCE

Jennifer Parker Starbuck (Royal Holloway, University of London)

BEYOND THE ZOOM AND GLOOM: USING AR IN UG DRAMA TEACHING AND PERFORMANCE -

MAKING

Will Shular (Royal Holloway, University of London)

44

ACTOR TRAINING IN XR : TRANSLATIONS OF THE PERFORMER’S BODY

Ioulia Marouda (Ghent University)


ROOM: A-050

AUDIOVISUAL PRACTICES

THE CENTRE IS A FUNCTION, NOT A PLACE: DERRIDEAN ‘PLAY’ IN STOCKHAUSEN’S STERNKLANG

AND CAGE’S HPSCHD

Clare Lesser (NYUAD)

CHRISTOPH MARTHALER'S CONTRAPUNTAL SCENIC COMPOSITION, BETWEEN SIGHT AND SOUND,

AS A PROCESS OF DEHIERARCHY AND DECENTRALISATION

Ioanna Solidaki (Université de Lausanne-Centre d'études théâtrales)

“YOUR SPELL SO WORKS THEM”: ENCHANTMENT, DISENCHANTMENT AND RE -ENCHANTMENT IN

THOMAS ADÈS’S “THE TEMPEST”

Edward Venn (University of Leeds)


ROOM: O-106

CENTRING DISABILITY IN PERFORMANCE II


(DE)-ORIENTATED CENTRES – ON CRIP-QUEER COMPLICITY AS A SUBVERSIVE TACTIC IN THEATRE

AND PERFORMANCE ANALYSIS

Mirjam Kreuser (University of Mainz)

CULTURAL POLICY FOR THE PERIPHERY? OR HOW IS THE FRINGE REPRESENTED?

Vibeke Glørstad (VID Specialized University, Stavanger)

DIFFERENTIATED BODIES: FROM THE BORDERS OF SOCIETY TO THE CENTER OF THE SCENE

Felipe Henrique Monteiro Oliveira (Centro Internacional de Pesquisas Artísticas e Acadêmicas sobre Antonin

Artaud)


ROOM: ÁG-422

DISPLACING HEGEMONIC REFERENCES: AN EXPERIENCE OF PAR IN THE FIELD OF BRAZILIAN

PERFORMING ARTS

Sílvia Geraldi and Marisa Lambert (Universidade Estadual de Campinas)

PERIPHERIES OF PERFORMER TRAINING

Göze Saner (Goldsmiths, University of London)

INHABITING THE FRAME: CHOREOGRAPHIC RESEARCH-PRACTICE FOR FILM STUDIES

Seth Majnoon (New York University)

MESH (IN-BETWEEN): ONE-ON-ONE PERFORMANCE TO REVEAL INDIVIDUAL NARRATIVES AND

IMPACT FUTURE ARTS POLICY

Carlos Eduardo Pires (University of Greenwich)

45


ROOM: A-052

WALKING AS PUBLIC SPACE

RE-BECOMING PUBLIC: MODIFYING TOGETHERNESS IN (POST-) LOCKDOWN CITY

Anastasia Polychronidou (Freelance Dramaturg/Researcher)

FROM BETWEEN THE CRACKS

Stuart Grant (University of Sydney)

QUEER STREET SCENES

David Calder (University of Manchester)

PERFORMING DISSENT AT THE PERIPHERY: AUDIO WALKS AS INTERVENTION

Sian Rees (University for the Creative Arts)

PERFORMANCE/WALKING TOUR (STARTS AT 17:45):

OVERLAYING LANDSCAPE – REFIGURING PUBLIC AS INTERSPECIES COHABITATION

Eduardo Abrantes and Kristine Samson (Roskilde University)


ROOM: ÁG-310

PERFORMING SPIRITUAL ACTIVISM

SENSING ENTANGLEMENT: PRACTICING WITH LIVE ART AND LAND IN CONNEMARA

Clare Daly (University of Roehampton)


ROOM: ÁG-201

EPISTEMOLOGIES: ACCESSIBILITY

Chair: Anika Marschall

CRISIS THEATRE AND LIVING NEWSPAPERS

Sarah Mullan (University of Northampton)

THEATRE AND THE IDEOLOGICAL IMAGINARY OF CULTURAL DEFICIT: (WAY) BEYOND THE

QUESTION OF ACCESS

Elizabeth Tomlin (University of Glasgow)

DECENTERING THE HUMAN: LITTLE AMAL, GOOD IMMIGRANTS AND CRITICAL PUPPETRY

Tobi Poster-Su (Queen Mary University of London)


ROOM: A-220

POLAR BEAR POSTCARDS AS/AND POPULAR ENTERTAINMENT

Penny Farfan (University of Calgary)

IMAGES AS EVIDENCE: METHODOLOGICAL ISSUES FOR THE CIRCUS HISTORIAN

Kim Baston (La Trobe University)

VILLAINESS OR VICTIM: RECONSIDERATION OF A FEMALE ANTAGONIST IN THAI POPULAR

THEATRE

Sukanya Sompiboon (Chulalongkorn University)

46


ROOM: ÁG-303



ROOM: ÁG-304

DECENTERING PRACTICE / SHARING QUEER PRESENTS

Chair: Annalaura Alifuoco

UK QUEER PERFORMANCE VENUES: BETWEEN INSECURITY AND INSTITUTIONALIZATION

Simon James Holton (University of Glasgow)

THE ICEBREAKERS: THE ROLE OF QUEER THEATRE IN SHIFTING THE MENTALITIES OF POST -SOVIET

ESTONIA

Eva-Liisa Linder (Estonian Academy of Music and Theatre)


ROOM: A-051

GLOBAL BECKETT 2: INTERVENTIONS

UNSPOOLING FROM THE CENTRE: KRAPP´S LAST TAPE AND POST -DICTATORSHIP ARGENTINA

Alicia Nudler (Universidad de Rio Negro)

WAITING FOR GODOT, ENDLESS WAIT FOR CHANGE AND PAKISTAN: A JOURNEY FROM IMPLICIT

TO EXPLICIT GODOT

Muhammad Saeed Nasir (Emerson University, Multan)

WG 4-83 SCENOGRAPHY

ROOM: ÁG-311

DECENTRING BODIES THROUGH COSTUME MATTER

Chair: Sofia Pantouvaki

SENSING MATTER – MAKING MEANING: EXPLORING METHODS FOR DEVISED MATERIAL -LED

COSTUME PRACTICE

Susanna Suurla (Aalto University)

THE MULTI-FACETED, AGENTIC, AND ECOLOGICAL POSSIBILITIES OF MODULAR COSTUMES

Susan Marshall (FIT in Milan/Afol Moda)

THE SOMATIC COSTUME DRESSING ROOM - MENDING & ATTENDING THROUGH TOUCH

Sally Dean (Oslo National Academy of the Arts)

CO-COSTUMING AS AN ORIENTATION TOWARDS SPACES OF IN -BETWEENNESS: TRANSFORMATIVE

CO-WEARING AND CO-LOCOMOTING ENCOUNTERS IN BETWEEN PLACES AND SPACES

Charlotte Østergaard (Malmö Theatre Academy, Lunds University)


ROOM: L-205

CHILDREN’S THEATRE

Chair: Sandra Grehn

HAIFA INTERNATIONAL CHILDREN’S THEATRE FESTIVAL AS THEATRICAL EVENT: RECEPTION STUDY

– PRELIMINARY FINDINGS

47

Smadar Mor (Seminar Hakibbutzim College and Tel Aviv University)

THE SOCIOCULTURAL ROLE OF DUTCH THEATRE AND DANCE COMPANIES – ESPECIALLY WITH

REGARD TO YOUNG AUDIENCES AND EDUCATION

Peter Eversmann (University of Amsterdam)


ROOM: O-202

ENVIRONMENTAL PERFORMANCE AND PANDEMIC PERSPECTIVES

Chair: Shauna Janssen

GROUND, SOIL, TERRITORY AND LANDSCAPE: SOIL MORE EXPENSIVE THAN GOLD

Katherine Sandys (Royal Central School of Speech and Drama)

UNSETTLING ACTS OF ASSEMBLY

Andrew Filmer (Aberystwyth University)

FROM MINEHEAD TO POOLE HARBOUR

Stephen Hodge (University of Exeter)

TOWARDS ‘MUNDANE’ PERFORMANCE: RECONCEPTUALISING THE THEATRUM MUNDI FOR THE

ANTHROPOCENE.

Cathy Turner and Evelyn O'Malley (University of Exeter)


ROOM: ÁG-101

POLYCENTRIC DRAMATURGICAL PRACTICES

Chair: Dorothy Chansky

TACTICS FOR STAYING ADRIFT

Patrick Campbell & The Ship of Fools

STAGING GOŚĆ-INNOŚĆ: POLYCENTRIC PRACTICES IN CONTEMPORARY MULTILINGUAL THEATRE

IN EUROPE

Kasia Lech (Canterbury Christ Church University)

SEARCHING FOR THE 'PEARL' OF DARI LANGUAGE AND CULTURE IN SOUTH -WEST SYDNEY

Paul Dwyer (University of Sydney)

POSTCOLONIAL POLYPHONY: CONTRAPUNTAL DRAMATURGIES FOR STAGING ENTANGLED

HISTORIES BETWEEN TANZANIA, TOGO AND GERMANY

Simone Niehoff (University of Hildesheim)

12:30-14:00 LUNCH / NEW SCHOLARS WORKSHOP II

NEW SCHOLARS WORKSHOP II : PUBLICATION

ROOM: UNIVERSITY SQUARE

CONTRIBUTORS

Silvija Jestrovic

Yana Meerzon

48


GP 5-41 CENTRES AND PERIPHIRIES IN EASTERN -EUROPEAN THEATRE

ROOM: ÁG-311

Chair: Anneli Saro

A LOVE-HATE RELATIONSHIP: OLIVER FRLJIĆ AND CROATIAN INSTITUTIONAL THEATRE

Višnja Kačić Rogošić (University of Zagreb)

RE-CENTRING KANTOR: FROM TRAUMA AND VIOLENCE TO RESISTANCE AND IMAGINATION?

Teemu Paavolainen (Tampere University)

EX-GDR IDENTITY BETWEEN PERIPHERY AND CENTRE: FRANK CASTORF’S RÄUBER VON SCHILLER

IN VOLKSBÜHNE BERLIN

Radka Kunderova (Independent researcher)

GP 5-42 RE-READING CLASSICAL GREEK DRAMA

ROOM: ÁG-304

Chair: Avra Sidiropoulou

(PERIPHERAL) VISIONS OF ANTIGONE: GENDER, MARGINALITY, AND A CURIOUS ART FORM

Kristina Hagström-Ståhl (Riksteatern)

MIGRATION IN GREEK AND ROMAN COMEDY

C. W. Marshall (UBC)

CITIZEN, CAPTIVE, SLAVE: TRACKING DISPLACEMENT IN ANCIENT GREEK TRAGEDY

Hallie Marshall (University of British Columbia)

GP 5-43 RELOCATING MAINSTREAM AND POPULAR THEATRE

ROOM: ÁG-301

Chair: Louise Peacock

THE MISSING MAINSTREAM

Paul Rae (University of Melbourne)

THE MUSICAL – A GENRE AT THE CENTRE WHILE REMAINING AT THE PERIPHERY

Verena Arndt (University of Mainz)

FAIRGROUND THEATRE: FROM THE PERIPHERY TO THE CENTRE OF THEATRE HISTORY IN

PORTUGAL

Paula Magalhães (University of Lisbon)

GP 5-44 TRANSFORMATIONS OF VOICE AND BODY

ROOM: L-201

Chair: Annette Arlander

SHIFTING THE CENTER OF GRAVITY OF THE CHINESE OPERA BODY: TECHNOLOGY,

INTERCULTURALISM, GLOBALIZATION

Daphne Lei (University of California, Irvine)

SONG BEYOND SONG: DECENTERING THE VOICE-BODY IN OPERA

Tyler Bouque (University of Huddersfield)

REMIXING VISCERAL AND TEMPORAL: PERFORMANCE AND ARCHIVES OF REZA ABDOH

Nazli Akhtari (University of Toronto)

49

GP 5-45 COMPASSION AND TRAUMA IN CONTEMPORARY THEATRE

ROOM: L-102

Chair: Milena Grass Kleiner

SHIFTING STRUCTURES OF FEELING: ON THE LACK OF PITY AND COMPASSION IN CANDICE BREITZ’

LOVE STORY

Solveig Gade (University of Copenhagen)

ANXIETY DISORIENTATION: DEATH AND DISGUST IN ENDA WALSH’S GRIEF IS A THING WITH

FEATHERS AND MAX PORTER’S ALL THIS UNREAL TIME

David Cregan (Villanova University)

UNSETTLING THE COMPLACENCY OF THE PRESENT: CORDELIA LYNN'S LOVE AND OTHER ACTS OF

VIOLENCE AND LENE THERESE TEIGEN'S TIME WITHOUT BOOKS

Alex Watson (Royal Holloway, University of London)

GP 5-46 THEATRE IN CENTRAL AND EASTERN EUROPE IN TIMES OF TRANSITION

ROOM: O-202

Chair: Attila Szabo

DYNAMICS OF THE CENTRE-PERIPHERY MODEL IN ESTONIAN THEATRE DISCOURSE DURING THE

TRANSITION PERIOD

Luule Epner (Tallinn University)

“THIS IS A CIRCUS.” THEATRE PRACTICES UNDER THE DECENTRED CONDITIONS OF INTERWAR

CENTRAL AND EASTERN EUROPE

Micha Braun (University of Leipzig)

REMOVING THE CENTRAL SHAFT: ALBANIAN THEATER LOSING GRIP AFTER THE COLLAPSE OF

COMMUNISM

Anxhela Hoxha (Academy of the Albanian Studies)

GP 5-47 THEATRE AND MIGRATION

ROOM: L-103

Chair: Jim Davis

THE COLONIALITY OF THEATRE MIGRATION – SHIFTING THE CENTERS WITHIN THE SCHOLARSHIP

ON TRANSNATIONAL HISTORY AND TRANSATLANTIC MOBILITY

Lisa Skwirblies (University of Munich)

MIGRATION OF AN ALIEN REFUGEE INTO A DECENTERED AND SELF -MARGINALIZED SOCIETY:

BRECHT IN JEWISH PALESTINE/ISRAEL 1933–1963

Gad Kaynar (Tel Aviv University)

THE INTERNAL IMMIGRANT WANDERING THROUGH "HETEROTOPIC SPACES" THE THEATER OF THE

ISRAELI PLAYWRIGHT AND DIRECTOR YOSEF MUNDI (1935-1994)

Zahava Caspi (Ben-Gurion University)

GP 5-48 STAGING INTERMEDIALITY (CURATED PANEL)

ROOM: ÁG-422

Chair: Douglas Eacho

CONTEMPORARY DIRECTOR’S THEATRE AND THE PRACTICE OF DECENTRALISING THEATRE

THROUGH THE DRAMATIC EFFECTS OF INTERMEDIALITY

Stella Keramida (University of Reading)

50

ADAPTING THEATRICAL FRAME FOR THE SCREEN: AN ANALYSIS OF PERFORMANCE FILMED IN

EMPTY THEATRE DURING THE PANDEMIC

Lin Chen (University of Exeter)

FROM GIACOMO VERDE’S TELE-TALE FOR CHILDREN’S THEATRE TO THE ON -LINE TELE-TALE IN

TIMES OF PANDEMIC

Vincenzo Sansone (Brera Academy of fine arts)

GP 5-49 DIASPORA, MEMORY, AND SOURCES (CURATED PANEL)

ROOM: ÁG-201

Chair: Dassia Posner

“RAK IVRIT,” EXILE CABARET FROM VIENNA TO TEL AVIV: STELLA KADMON’S POLYPHONIC

REPERTOIRE IN THE DIASPORA, 1940

Rebecca Rovit (University of Kansas)

HOW DOES KHASHABI THEATRE PRODUCE A “DUAL PRESENCE” OF PALESTINIAN URBANISM?

GHOSTS AND MEMORY IN KHASHABI FIRST SEASON, HAIFA, 2015–2016

Dorit Yerushalmi (University of Haifa)

HEBREW, JEWISH, AND ISRAELI SOURCES IN THE THEATRE OF RINA YERUSHALMI

Sharon Aronson-Lehavi (Tel Aviv University)

16:00-17:00 IFTR GENERAL ASSEMBLY


17:00-18:00 KEYNOTE LECTURE

KEYNOTE LECTURE



‘WHAT DOES DEFENDING EUROPE MEAN?’: THEATRE AND MIGRATION IN THE BALKANS

Milija Gluhovic

51

DAY 4 THURSDAY 23 JUNE 2022


GP 6-50 ON EPISTEMOLOGIES AND PEDAGOGIES (CURATED PANEL)

ROOM: ÁG-301

Chair: Julia Boll

SITUATIONS WITH… THE ARCHIVE: HAUPTAKTION’S LECTURE PERFORMANCES AND THE POLITICS

OF PERFORMING PROBLEMATIC REPERTOIRES

Clio Unger (Royal Central School of Speech and Drama, University of London)

‘UNLEARNING’ EUROPE: METHODOLOGICAL PROVOCATIONS FOR THEATRE AND PERFORMANCE

STUDIES

Diana Damian Martin (Central School of Speech and Drama) with Marilena Zaroulia

CHALLENGING HIERARCHIES OF LEGITIMACY: PLAY ANALYSIS AS ‘EPISTEMIC DISOBEDIENCE’

Trish Reid (University of Reading)

GP 6-51 THEATRE ON THE MARGINS OF PUBLIC SPACE

ROOM: ÁG-422

Chair: Marcela Oteiza

STREET THEATRE AN-ATOMY

John Andreasen (Aarhus University)

SHIFTING CENTRES WITH PROMENADE PERFORMANCES

Madli Pesti (Estonian Academy of Music and Theatre)

THE INVISIBLE LIVES OF MUTRIBS: POPULAR PERFORMANCES IN THE OUTSKIRTS OF 1940S

TEHRAN

Q-mars Haeri (University of Maryland)

GP 6-52 RE:CALLING NOTIONS OF HOME: A ROUNDTABLE DISCUSSI ON ON AMATEUR THEATRE

IN PERIPHERAL REGIONS OF EASTERN GERMANY (CURATED PANEL)

ROOM: ÁG-311

Chair: Micha Braun

PARTICIPANTS

Claudius Baisch (Leipzig University)

Dorothea Kaiser (Leipzig University)

Helena Wölfi (Leipzig University)

Stephan Schnell (Leipzig University)

GP 6-53 THEATRE AND SPATIAL/GEOGRAPHICAL MARGINS

ROOM: ÁG-304

Chair: Katharine Low

THEATRE ON THE EDGE – RE-DEFINING CULTURAL LIFE IN EAST-GERMAN RURAL AREAS

Julia Glesner (Potsdam University of Applied Sciences)

52

CAUGHT WITHOUT THE CANOPY: CLIMATE CHANGE AND THE COLONIZATION OF PRACTICE IN

CUSCATLAN

Shannon Hughes (York University)

SHIFTING DRAMATIC STRUCTURE: AN INQUIRY INTO THE ‘SPATIALIZED AESTHETICS’ OF JON FOSSE

AND CECILIE LOVEID

Ajeet Singh (Bhagat Phool Singh Mahila Vishwavidyalaya)

GP 6-54 PERFORMING MIGRATION

ROOM: L-102

Chair: Anika Marschall

TO LIVE WELL IS TO STORY WELL: TRAMPOLINE HOUSE AT DOCUMENTA15

Helene Grøn (University of Glasgow)

DAS WUNDER VON NEUKÖLLN: THE NEUKÖLLNER OPER AND ENGAGEMENT IN “KIEZ” CULTURE

Olivia Maria Schaaf (Queen Mary University of London)

SENSORY UNDERSTANDINGS OF BORDERS: TANIA EL KHOURY’S GARDENS SPEAK AND VOX

MOTUS’ FLIGHT

Olivia Lamont Bishop (Royal Holloway, University of London)

GP 6-55 THE MAGIC LANTERN IN THE LIMELIGHT: AMUSEMENT , POLITICS, SCIENCE AND THE

OCCULT (CURATED PANEL)

ROOM: L-103

Chair: Kurt Vanhoutte

THE MAGIC LANTERN: ITINERANT SHOW PEOPLE AND THE PERFORMANCE OF SCIENCE

Kurt Vanhoutte (University of Antwerp)

POLITICIANS ON THE STAGE: CHARLES BULS AND THE RESURRECTION OF THE PAST

Eleonora Paklons (University of Antwerp)

PROJECTING MUSICAL PAINTINGS: OCCULT VIBRATION-MANIA IN FIN-DE-SIÈCLE PARIS AND

BRUSSELS

Evelien Jonckheere (University of Antwerp)

GP 6-56 RE-EXAMINING DRAMATURGIES

ROOM: L-201

Chair: Siemke Böhnisch

EXCEPTIONS AND RULES: LEHRSTÜCK, POLITICAL PEDAGODY, AND THE SOCIALISATION OF SPACE

Francesco Saverio Sani (De Montfort University)

THE DISSOLUTION OF DIALOGUE AS CENTRAL STANDPOINT: CONTEMPORARY DRAMATURGY

CONCEIVED FROM THE NOTION OF CONVERSATION

Felisberto Sabino Costa (University of São Paulo - USP)

THE PERFORMATIVE NARRATOR AS INTERMEDIAL, INTERSPATIAL AND INTERTEMPORAL: A

NARRATOLOGICAL ANALYSIS OF MILO RAU'S PERFORMANCE LA REPRISE

Maya Arad Yasur (Tel-Aviv University)

53

GP 6-57 CHALLENGING SPATIAL BOUNDARIES

ROOM: ÁG-220

Chair: Thea Brejzek

STAGE AS MILIEU

Vincent Roumagnac (Performing Arts Research Centre Uniarts Helsinki)

‘INSIDE IS THE NEW OUTSIDE NOW’: SHARING SPACES IN THE MULTI -MODAL INTERACTIVE PLAY

‘IT’S TRUE I LOVE YOU ALL SO MUCH’

Sarah Hoover (University College Cork)

THE FIXED ‘HEAVENS’: 1930’S PLANETARIUMS AND THE PERIPHERY OF SPACE

Aileen Robinson (Stanford University)

GP 6-58 EUROPEAN MARGINS

ROOM: O-202

Chair: Ulla Kallenbach

RE-VOICING CULTURAL LANDSCAPES: THE FRISIAN STRAND

Antine Zijlstra (University of Groningen)

SHIFTING IDENTIFICATIONS IN WESTERN EUROPE: TENSION BETWEEN THE ‘CENTRE’ AND THE

‘MARGIN’

Goran Petrovic Lotina (University of Warwick)

VIENNA 1981. PRACTICING "MITTELEUROPA” FROM THE MARGINS

Theresa Eisele (MODUL University Vienna)

GP 6-59 UKRAINIAN THEATRE. NOW.

ROOM: ÁG-201

Chair: Ewa Bal & Kasia Lech

Ukrainian scholars and artists discuss Ukrainian theatre in the current moment – from applied theatre, through

mainstream stages, puppetry, and transmedia projects – and consider its potential futures.

PARTICIPANTS

Mайя Гарбузюк/Maya Harbuzyuk (Ivan Franko National University of Lviv)

Юлія Білинська/Julia Bilińska (Kharkiv National University of Arts)

Софія Оніщенко/Sofiia Onishchenko (Kharkiv National University of Arts)

Дар'я Богдан/Daria Bohdan (Kharkiv National University of Arts)

Василина Марценюк/Vasylyna Martseniuk (Kharkiv National University of Arts)

11:00-12:30 NEW SCHOLARS FORUM

NSF 2-12 POLITICAL THEATRE

ROOM: A-052

Chair: Milena Grass

THEATRICAL STRATEGIES: COOPERATIVE ORGANIZING AND PREFIGURATIVE WORLDBUILDING

Esther Neff (The Graduate Center, CUNY)

STAGE AND POLITICS: GIUSEPPE FAVA AND SOUTH ITALY THEATRE

Pierlorenzo Randazzo (Università degli Studi di Palermo)

54

#ROCKUMENTA: INTERVENTIONAL PERFORMANCE AND THE CLAIM TO PUBLIC SPACE

Cara Brophy Browne (University of Bologna)

THE PEOPLE OR THE CROWD? THE REPRESENTATION OF REVOLUTIONARY MASS IN

POSTREVOLUTIONARY CHINA IN YU RONGJUN’S THE CROWD (2015)

Chaomei Chen (Trinity College, Dublin)

UNRAVELLING CONGEALED VIOLENCE: PERFORMING MEMORY AND DALIT IDENTITY IN

PRALAYAN'S UPAKADHAI

Venkateswaran Seshadri (Jawaharlal Nehru University New Delhi)

NSF 2-13 QUEERING THE IDENTITY

ROOM: A-220

Chair: Fintan Walsh

PROPRIETY, HISTORICAL PROMISCUITY AND PLEASURE IN FIGS IN WIGS’ LITTLE WIMMIN

Emma Welton (Queen Mary University of London)

QUEERING THE THEATRE ‘FAMILY’. LGBTQ+ INVOLVEMENT IN THEATRICAL PRACTICES

Megan Shone (Coventry University)

CAN THERE BE A QUEER CENTER? REIMAGINING THE PERFORMANCE OF LGBTQ ACTIVISM AT THE

EDGES OF 1990S NEW YORK

Danica Stompor (Queens College, City University of New York)

REMAPPING (WI)SELF: “NARRATIVE AUTO-ETHNOGRAPHY”AND SELF-INQUIRY TO FOSTER “WE-

SEARCH”

Webster McDonald (University of Kansas)

HOLDING CENTRE AT THE EDGES OF EXILE: TRANS-EMPOWERED APPROACHES TO EMBODIMENT

AND RITUAL THEATRE AS TOOLS FOR CONFLICT-TRANSFORMATION

Kristen Lewis (Gull Cry Dance), with Rue McDonald and Otis Bell

NSF 2-14 RACE, RACISM, AND REPRESENTATION

ROOM: ÁG-201

Chair: Joanna Tompkins

HOW CAN WHITENESS BE DECENTERED IN SCHOLARSHIP AND PRACTICE?

Yaël Koutouan (University of Mainz)

FRANTZ FANON’S BLACK SKIN, WHITE MASKS: PERFORMING THE (IN)HUMAN IN THE COLONIAL

CENTRE

Çağlar Köseoğlu (Erasmus University College)

BLACK BRITISH EXPERIENCE ON FILM AND TV: RACIALISED MEDIA REPRESENTATION AND ITS

EFFECT ON FIRST-GENERATION CARIBBEAN MIGRANT IDENTITY

Jenni-Lewin Turner (Royal Central School of Speech and Drama)

PERFORMING VICTIMHOOD: WEAPONIZED WHITENESS, KAREN OUTBURSTS AND AMERICA

Alisha Grech (University of Toronto)

UNSETTLING NARRATIVES: WHITE DOMESTICITY AND GENDER IN A SETTLER COLONY

Morgan Brie Johnson (York University)

55

NSF 2-15 TEXT, PERFORMANCE, AND ADAPTATION

ROOM: ÁG-301

Chair: Ameet Parameswaran

TRANSLATING BRECHT IN INDIA: A BRAND IMAGE OR MORE?

Snehal Anni (Free University of Berlin)

THE POLITICS OF ADAPTATION IN TEXT AND PERFORMANCE: FEMI OSOFISAN’S TÈGÒNNI

REVISITED

A. Bernard Adjirackor (University of Ghana) and Gifty Etornam Katahena

NSF 2-16 THEATRE, ARCHITECTURE, SPACE, AND URBAN ENVIRONMENT

ROOM: ÁG-304

Chair: Tim White

PERFORMING (AND RESEARCHING) PEDESTRIANISM: TRANSGRESSING BINARIES OF SPACE AND

PLACE

Lucy Petchell (University of Sydney)

LONGING FOR POPULARITY – THE BERLIN STADTSCHLOSS, THE PUBLIC AND THE STATE

Thekla Sophie Neuß (Freie Universität Berlin)

PROCEDURES OF APPROXIMATION AND PERMANENCE: URBAN INTERVENTION AS A DISRUPTIVE

PRACTICE OF THE URBAN ECOSYSTEM

Michele Carolina Silva (UNICAMP)

ENACTING THE ETERNAL IN(TO) THE PRESENT. NAZI ASSEMBLY ARCHITECTURE AS PERFORMATIVE

PRACTICE

Jonathan Jaschinski (University of Groningen)

NSF 2-17 RESEARCHING THEATRE: ARCHIVE, WRITING, AND PUBLISHING

ROOM: ÁG-311

Chair: Sigridur Lara Sigurjonsdottir

AFFECTIVE AND PERFORMATIVE WRITING FOR YOUTH

Anette Therese Pettersen (University of Agder)

BRITISH EMBEDDED THEATRE CRITICISM: A SUBJECTIVE PRACTICE

Laura Kressly (Royal Central School of Speech and Drama)

THEATRE PUBLISHING AS A HUB FOR CRITICAL THEATRE: “VERLAG DER AUTOREN”

Lisa-Frederike Seidler (Freie Universität Berlin)

REFOCUSING ICELANDIC THEATRE RESEARCH

Sigridur Jonsdottir (National and University Library of Iceland)

IMAG(INARI)ES OF JAPAN AROUND THE BEGINNING OF THE 20TH CENTURY: INBETWEEN THEATRE

AND POLITICS

Sona Petrossian (University of Cologne)

NSF 2-18 THEATRE PROCESSES, AESTHETICS, AND DIRECTORIAL STRATEGIES

ROOM: ÁG-422


56

DIRECTING ACTORS WITH LEARNING DISABILITIES: A META -ANALYSIS OF PAST AND CURRENT

PRACTICES

Clara Kundin (Arizona State University)

EMOTION AND AFFECT IN THE SPECTACLES OF SOCÍETAS RAFFAELLO SANZIO CIA

Rafael Percino (Universidade Estadual Paulista)

AFFECTIVE UNCERTAINTY IN NAVARIDAS AND DEUTINGER’S "YOUR MAJESTIES"

Nina Helene Jakobia Skogli (University of Agder)

THE ACTOR-AUTHOR: HIS PRESENCE AND ABSENCE IN THE ROMANIAN THEATER

Boldea Sorin Dan (Babes-Bolyai University)

ERROR AS A THEATER DIRECTING STRATEGY

Tania Novoa

NSF 2-19 PERFORMANCE FESTIVALS – II (CULTURAL MARKET, FUNDING, AND NETWORKS)

ROOM: L-102

Chair: Silvija Jestrovic

THE ROLE OF SYMBOLIC CAPITAL IN THE LITHUANIAN PERFORMING ARTS FIELD

Monika Jašinskaitė (University of Tartu)

PAN-AFRICAN NETWORKS: EPISTEMICIDE AND THE ‘KISS OF LIFE’

Nike Jonah (The Royal Central School of Speech and Drama)

SITUATING WORKING PROCESSES AND SETTINGS OF PRESENT ATION: THEATRE FESTIVALS AND

RESIDENCIES IN PRODUCTION NETWORKS

Anna Barmettler (University of Berne)

WHO CARES? NARRATIVES OF CONTEMPORARY INTERNATIONAL PERFORMING ART FESTIVALS

AND COLLABORATIONS

Nicola Scherer (University of Hildesheim)

NSF 2-20 WASTE, CLIMATE, SUSTAINABILITY, AND THE ANTHROPOCENE

ROOM: L-103

Chair: Anette Arlander

NAVIGATING CETACEAN HOLLOWS: BREACHING URGENT TIMES IN THE CLIMATE CRISIS

Alexandra A. Rego (City University of New York)

IF I THROW SOMETHING OUT, I THROW IT OUT OF WHERE?

Pamella Villanova (UNICAMP)

ECO-THEATRE AND COLLABORATION: SHIFTING POWER DYNAMICS IN YOUTH THEATRE SPACES

Sage Tokach (University of Central Florida)

COVID PROTOCOLS MEETS GREEN POLICIES: FRONT OF HOUSE SUSTAINABILITY PRACTICES

DURING THE PANDEMIC AND BEYOND

Alicia Jay (Indiana State University)

NSF 2-21 GENDERED NARRATIVES, FEMINISM AND MASCULINITY

ROOM: L-201

Chair: Tracy C. Davis

HOW TO LIVE TOGETHER? THEATRICAL WORLDMAKING IN IMMERSIVE PERFORMANCES

Theresa Schütz (Freie Universität Berlin)

57

BETWEEN STAGE AND SOCIETY: FEMALE EMANCIPATION IN EMMA GAD’S A POINT OF

CONTENTION (1888)

Julia Tonsberg (Aarhus University)

“WE ARE BAD FEMINISTS”: A CULTURAL-HISTORICAL APPROACH TO FLEABAG

Sophie Totz (University of Cologne)

USING THEATRE TO DISRUPT THE HEGEMONIC MASCULINITY SHAME CYCLE

Jacob Buttry (Arizona State University)

PROTOTYPICALITY: UNDERSTANDING THREATS TO MASCULINITY IN DRAMATIC TEXT

Alix Burbridge (University of Reading)

NSF 2-22 THEATRE HISTORIES AND MEMORY

ROOM: O-202

Chair: Milija Gluhovic

IN THE NAME OF SHIVAJI: ANALYSING THE STAGING OF HISTORICAL MEMORY IN THE ACOUSTIC

DRAMATURGY OF JANATA RAJA

Aishwarya Walvekar (Jawaharlal Nehru University, New Delhi)

THE "MEMORY OF THE REAL" ON THE SPANISH CONTEMPORARY STAGE

Alba Saura Clares (Universitat Autònoma de Barcelona)

AGONISTIC STRATEGIES IN MARTYRMUSEUM

Andreas Røst (Universitetet i Agder)

THE PATH TO GLORY: MIGRATION NETWORKS OF 19TH CENTURY THEATRE PROFESSIONALS AT

THE K.K. HOFTHEATER NÄCHST DER BURG

Jorit Jens Hopp (Ludwig Maximilian University of Munich)

PERFORMING THE PERIPHERY: THE EXILIC THEATRE OF LUIGI PIRANDELLO

Zafiris Nikitas (Aristotle University of Thessaloniki)

12:30-14:00 LUNCH / NEW SCHOLARS CAUCUS / WG CONVENERS MEETING

NEW SCHOLARS CAUCUS

LOCATION: UNIVERSITY SQUARE

WORKING GROUPS CONVENERS ’ MEETING

LOCATION: ROOM ÁG-422


GP 7-60 PERFORMANCES OF SUBVERSION AND DISSENT

ROOM: L-201

Chair: Paul Dwyer

THE POLITICAL PERFORMANCE OF (MICRO)NATIONHOOD

Robert Motum (University of Toronto)

POETICS OF AMBIVALENCE AS A FORM OF DISSENSUS

Anneli Saro (University of Tartu)

58

ART AS A FORM OF PROTEST: THEATRE AGAINST VIOLENCE

Iryna Kastylianchanka (Osaka University)

GP 7-61 SPATIAL DISOBEDIENCE AND BIOPOLITICS OF MIGRATION (CURATED PANEL)

ROOM: ÁG-301

Chair: Lisa Fitzpatrick

CHALLENGES OF REVERSE/CIRCULAR MIGRATION IN THE TIMES OF PANDEMIC; PROCESSES AND

PERFORMANCES

Bishnupriya Dutt (Jawaharlal Nehru University)

THE WALK (S): MAPPING THE BIOPOLITICS FROM MARGIN TO CENTRE (AND BACK)

Silvija Jestrovic (Warwick University)

QUEER AND TRANS REFUGEES PERFORM CROSSINGS THROUGH PERPETUAL DECENTERING

Anna Winget (Loyola Marymount University)

GP 7-62 DANGEROUS BODIES

ROOM: ÁG-304

Chair: TBC

DISCARDED SKINS: SNAKE WOMEN IN JAPANESE AND CHINESE PERFORMANCE

Carol Fisher Sorgenfrei (UCLA Theatre)

BECOMING PARTNERS IN DANGER: RE-CENTERING WIRE WALKING AS A PRACTICE OF

RELATIONALITY

Ante Ursic (East Tennessee State University)

GP 7-63 PARTICIPATION, COMMUNITY AND APPLIED THEATRE

ROOM: ÁG-422

Chair: Marline Lisette Wilders

PARTICIPATION AND COMMUNITY: FINDING CREATIVE FLOW IN THE MARGINS OF ART.

Helen Newall (Edge Hill University)

THE MESS, THE PUNK AND THE PLACE: APPLIED THEATRE AT WORK

Selina Busby (Royal Central School of Speech and Drama)

SHABBES OF THE YEAR: RE-CENTERING COMMUNITY THROUGH COLLECTIVE PERFORMANCE AT

KLEZKANADA

Avia Moore (York University)

GP 7-64 TACKLING THE ANHROPOCENE

ROOM: ÁG-311

Chair: Imanuel Schipper

GEODESIGN FOR DECENTRED FUTURES IN CONTEMPORARY PERFORMATIVE ARTS

Mateusz Chaberski (Jagiellonian University in Cracow)

TRAGEDIES OF THE CAPITALOCENE

Wendy Arons (Carnegie Mellon School of Drama)

WHAT WE PREFER NOT TO KNOW ABOUT THE ENDS OF OUR WORLD. NEW POLISH DRAMA

"PICNIC AT HANGING ROCK"

Wojciech Baluch (Jagiellonian university)

59

GP 7-65 CO-CURATED PANEL: INTERMEDIALITY AND SCENOGRAPHY WG

ROOM: ÁG-201

Chair: Nick Hunt

VIRTUAL SCENOGRAPHY IN TRANSFORMATION – THE PERFORMATIVE POSSIBILITIES OF VIRTUAL

ENVIRONMENTS

Tanja Bastamow (Aalto University)

AFFECT, AGENCY AND ENTANGLEMENT IN INTERACTIVE DIGITAL SCENOGRAPHY

Lucy Thornett (University of the Arts, London)

INHABITING TECHNOLOGIES: INTERACTIVE SCENOGRAPHY AND POLITICS IN THE WORK OF

COUNTERPILOT

Sarah Winter (Queensland University of Technology)

GP 7-66 STRATEGICAL RESPONSES TO PANDEMIC RESTRICTIONS

ROOM: L-102

Chair: Kurt Taroff

CHOREOGRAPHIES OF/IN DISTANCE

Katja Schneider (Frankfurt University of Music and Performing Arts (HfMDK))

MEDIATIZED THEATRE: STRATEGIES AND DEMAND

Martynas Petrikas (Vilnius University) and Asta Petrikienė (Lithuanian Culture Research Institute)

THE CULTURE OF CANCELLATIONS IN FRANCE

Sophie Proust (University of Lille)

GP 7-67 NO MAN’S LAND : RECENTREING FAKERY BETWEEN THEATRE AND THE EVERYDAY

(CURATED PANEL)

ROOM: L-103

Chair: Michelle Liu Carriger

PERFORMING REFUGEES: QUI NGUYEN'S VIETGONE

Sean Metzger (UCLA)

“THIS PERSON DOES NOT EXIST”: PERFORMING RESEMBLANCE AND REPRESENTATION IN

GENERATIVE ADVERSARIAL NETWORKS

Lindsay Hunter (University at Buffalo, SUNY)

TIME TRAVELER DAY AT THE RENAISSANCE FESTIVAL

Michelle Liu Carriger (UCLA)

GP 7-68 NOTES ON DANCE FROM ACROSS EUROPE: ON DE/CENTERING CORPOREALITIES IN

POLITICS AND CULTURAL ECONOMIES (CURATED PANEL)

ROOM: O-202

Chair: Stacy Prickett

MANY FACES OF KOLO

Dunja Njaradi (University of Arts in Belgrade)

ON SLOUCHING. CORPOREAL (DE-)CENTRALIZATIONS OF POWER IN RECENT BRITISH POLITICS

Susanne Foellmer (Coventry University)

THE SYMBOLIC ECONOMY OF CONTEMPORARY DANCE: TO BE IN BRUSSELS OR NOT TO BE?

Annelies Van Assche (Ghent University)

60


GP 8-69 RE-EXAMINING DRAMATIC WRITING

ROOM: L-102

Chair: Deirdre Osborne

FROM PERIPHERY TO THE CENTRE AND BACKWARDS: REDEFINING THE CENTRE THROUGH

PLAYWRITING

Darko Lukic (Independent scholar)

“WHAT IS A BLACK PLAY?”: INSTITUTIONAL AND COSMOPOLITAN HISTORIES OF BLACK DRAMA

Stefka Mihaylova (University of Washington, Seattle)

PLAYWRIGHT PIRKKO JAAKOLA: DOUBLE (OR TRIPLE) PERIPHERY – OR NOT?

Outi Lahtinen (Aalto University)

GP 8-70 PERIPHERIES, COMMUNITIES AND MATERIALITIES ( SCENOGRAPHY WG SPONSORED

PANEL)

ROOM: ÁG-201

Chair: Donatella Barbieri

CENTERING SKILL: STYLING BLACK HAIR ON BROADWAY

Christin Essin (Vanderbilt University)

BURLESQUE’S ‘BLOOD AND GLITTER’ COSTUMES: EXTRAVAGANT BODIES AND SAFE SPACES

Jacki Willson (University of Leeds)

PERIPHERAL VOICES: THE COSTUME MAKERS’ LABOUR FROM WITHIN THE PROF FESSION

Sofia Pantouvaki (Aalto University)

GP 8-71 PERFORMING CITIZENSHIP. SOCIAL AND POLITICAL AGENCY IN NON -PROFESSIONAL

THEATRE PRACTICE 1780-1850 (CURATED PANEL)

ROOM: ÁG-301

Chair: Claire Cochrane

BETWEEN ‘GESELLIGKEIT’ AND DECISION -MAKING

Meike Wagner (Stockholm University)

DOCUMENTING CITIZENSHIP: A HISTORY OF AMATEUR THEATRE HISTORIES

David Coates (University of Warwick)

PERFORMING SUBJECTIVITY – WOMEN’S POLITICAL AMATEUR THEATRE BETWEEN

ENLIGHTENMENT AND ROMANTICISM

Maria Gullstam (Stockholm University)

GP 8-72 CENTERING GENDER

ROOM: ÁG-422

Chair: Caoimhe McGuiness

THE PERFORMANCE OF MARGINALITY IN SIMONE BENMUSSA’S "THE NOT -SO-SINGULAR LIFE OF

ALBERT NOBBS"

Mary Noonan (University College Cork)

61

TRANS THEATRE-MAKING AND CISGENDERISM: COMPETING FEMINISMS IN TRAVIS ALABANZA’S

'OVERFLOW'

Rachel Hann (Northumbria University)

WRITING TRANSNATIONAL THEATRE HISTORY FROM A FRINGE-GENDER PERSPECTIVE

Birgitta Lindh Estelle (University of Gothenburg)

GP 8-73 QUESTIONING HISTORIES OF MODERN THEATRE AND DANCE

ROOM: L-103

Chair: Julia Listengarten

DANCING CENTRE STAGE. LEA BERGSTEIN: EUROPEAN MODERN DANCE AND HEBREW CULTURAL

PRODUCTION (1920-1948)

Lukas Bengough (Tel Aviv University)

FROM AND TO TICINO: PERFORMING ARTS AT THE CROSSROAD OF ARTISTIC EXCHANGES AND

PHYSICAL EXPRESSION

Demis Quadri (Accademia Teatro Dimitri SUPSI) and Katja Vaghi

NABANNA AND THE 1942 BENGAL FAMINE AS A PROBLEM BETWEEN THE CITY CENTRE AND THE

RURAL MARGINS

Souradeep Roy (Queen Mary University of London)

GP 8-74 PERFORMANCE ON THE THRESHOLD

ROOM: ÁG-304

Chair: Laura Luise Schultz

BETWEEN ACTING AND PERFORMING

Juan Diego Bonilla (Cia. de Subsuelo) and Samantha Manzur

MARAT/SADE/SPECTRE: THEATRE OF THE THIRD STANDPOINT

Yizhou Zhang (University of Toronto)

SOUND AND ECHO: TAMERLANE AS A MUSICAL FIGURE IN EAST AND WEST

T. Sofie Taubert (University of Cologne)

GP 8-75 ASPECTS OF MUSIC THEATRE

ROOM: O-202

Chair: Marianne Betz

DEMYTHOLOGISING THE EXPLORERS: THE OPERA COOK O SIA GL’INGLESI IN OTHAITI (NAPLES,

1785)

Magnus Tessing Schneider (Stockholm University)

CREATING A GENRE THROUGH STAGE MUSIC: THE CASE OF MANOS HADJIDAKIS

Christina Michael (European University Cyprus)

TRANS SONORITIES: FRANCES POET’S ADAM (2017)

Maggie Inchley (QMUL)

GP 8-76 PERSPECTIVES FROM INDIA: HOME ALONE, UN -BOXING DIGITAL INSPIRATIONS

(CURATED PANEL)

ROOM: ÁG-311

Chair: Ketu H. Katrak

62

BOXED AND ITS INSPIRATION FOR THE FUTURE

Ketu H Katrak (University of California Irvine)

FLATTENED BY THE CAMERA’S EYE: NEW OPTICS AND NEW AUDIENCES IN THE DIGITAL ERA

Anita Ratnam (Independent performer, Arts Entrepreneur and Curator of Live Arts Events)

“DANCING THE WAVES”: RE-IMAGINING VIRTUAL LEARNING

Madhu Natraj (Natya Institute of Kathak & Choreography/Jain University)

63

DAY 5 FRIDAY 24 JUNE 2022



ROOM: O-203

TRANSFORMATIONS OF TIME AND SPACE

Chair: Rasheeda Liman

REPRESENTING ETHIOPIAN RURAL SPACE IN ISRAELI PERFORMING ARTS: SHIFTING SPECTATORS'

CENTRE OF REFERENCE

Sarit Cofman-Simhon (Kibbutzim College)

THE TIME-SPACE OF DANCE PRODUCTION: THEORISING DANCE IN THE FIELD OF AFRICAN

CULTURAL PRODUCTION

Oluwafunmilayo Adewole (De Montfort University)

AND THEN… MOVING AWAY, TOWARDS TOMORROW

Jacki Job (University of Cape Town)


ROOM: L-201

THE WORLD OF ART IN THE RUSSIAN WORLD: POST-SOVIET REWRITING OF THE BALLETS RUSSES

Hanna Järvinen (Theatre Academy of the University of the Arts Helsinki)

CLOWN PERFORMANCES OF OCCUPATION IN CATALONIA’S RACE FOR INDEPENDENCE

Eva Aymami Rene (Anglia Ruskin University)

DANCE, ACTIVISM AND SURVEILLANCE OF EXTINCTION REBELLION IN THE AGE OF BREXIT AND

COVID-19

Stacey Prickett (University of Roehampton)


ROOM: A-069

DATABASES 1

Chair: Nora Probst

FORENSIC THEATRE LAB Imanuel Schipper (Uniarts Helsinki)

WG BUSINESS MEETING


ROOM: VHV-007

MULTI-MEDIA PUBLICATION, ARCHIVE AND INTERDISCIPLINARY CONNECTIONS

INTERCULTURAL ROOTS – TRANSDISCIPLINARY COLLABORATIVE RESEARCH: BRIDGING ACADEMIA

AND THE ARTS FOR HEALTH AND SOCIAL CHANGE

Alexander Boyd (UC Davis Theatre and Dance, Intercultural Roots)

EMBODIED STORYTELLING AND THE ECOLOGICAL ENTANGLEMENTS OF DISTRESS: PRACTICE -LED

RESEARCH OF MAD EXPERIENCE IN A TIME OF CRISIS

Fabienne Formosa (Goldsmiths, University of London)

64

PERFORMANCE CONVERSATION: RELATIONAL PERSPECTIVES OF CREATIVE SPACE: THE STORIES,

THE PRACTICE, AND THEORY OF POSTMARGINALITY

Peter Farbridge (Postmarginal), with Art Babyants and Lisa Ndejuru

WELCOME TO IT: A PERFORMANCE OF EMBEDDED IMPOSTURE

Sarah Manya (SUNY at Buffalo)


ROOM: L-103



ROOM: ÁG-301

NEW APPROACHES

Chair: Tancredi Gusman

WHAT REMAINS: WALKING SIMULATORS AS MODELS OF HISTORIOGRAPHY

Michael Bachmann (University of Glasgow)

TO AND FROM THE POST-COLONY: WENDY BEAVIS AND AFROZA BULBUL AS TRANS-ATLANTIC

WOMEN PERFORMERS

Priyanka Basu (Faculty of Arts and Humanities, King's College London)

HISTORIOGRAPHIES OF PEACE AND THEATRE IN THE AMERICAN HEMISPHERE

Lisa Jackson-Schebetta (Skidmore College)

CHALLENGING MONUMENTS IN HISTORIOGRAPHY: A METHODOLOGICAL APPROACH ON THEATRE

ARCHITECTURE

Marie-Charlott Schube (Institute of Theatre Studies, Freie Universität Berlin)


ROOM: L-102

GAMING, AR AND PERFORMANCE: PLAYER HOSTAGE OR AUDIENCE INCLUSION?

Chair: Yaron Shyldkrot

PLAYING OUT OF CONTROL

Tim White & Carol Nagyová (University of Warwick)

IMMERSIVE METHODS OF PARTICIPATORY FUTURING

Paul Clarke (University of Bristol)

REMOTE WALKING WITH TECHNOLOGY DURING COVID-19

Harry Wilson (University of Glasgow)

BUSINESS MEETING


ROOM: A-050

POLITICAL HISTORIES

STAGING HISTORY IN CZECH OPERA UNDER STATE SOCIALISM

Tereza Havelkova (Charles University in Prague)

RECENTERING BLACK CIVIL WAR HISTORIES IN THE MUSICALS THE SHOOFLY REGIMENT (1907)

AND PARADISE SQUARE (2022)

Christine Snyder (CUNY Graduate Center)

65

MUSICAL THEATRE AND CIVIC ENGAGEMENT IN THE UNITED STATES

Marissa Barnathan (Arizona State University)


ROOM: O-106

PERSPECTIVES ON DISABILITY PERFORMANCE PRACTICE


ECO SOMA: STARSHIP SOMATICS IN DISABILITY CULTURE LAND

Petra Kuppers (University of Michigan)

DISABILITY DRAMATURGY: HISTORY, PERSPECTIVE, AND PRACTICE

Jessica Watkin (University of Toronto)

IN AND ON AUTISTIC TERMS: TOWARDS AN AUTISTIC THEORY OF GESTURE

Julie Dind (Brown University)

CRIP MOVEMENT LAB: DISABILITY AS A GENERATIVE FRAMEWORK FOR MOVEMENT AND

CREATIVE PRACTICE

Elisabeth Motley (Marymount Manhattan College)


ROOM: ÁG-422

PERFORMANCE IN THE AGE OF VIRAL MUTATION: COVID 19'S IMPACT ON POLITICO -AESTHETIC-

AFFECTIVE GRAMMARS

Riddha (Jawaharlal Nehru University)

4 DOORS OF ACTING. METHODOLOGIES

Orestes Pérez Estanquero (Universidad Complutense de Madrid)

SHIFTING THE FOCUS IN PERFORMANCE AS RESEARCH

Annette Arlander (University of the Arts Helsinki)

DISTRIBUTED COGNITION FOR NAVIGATING SHIFTING CENTERS

Maiya Murphy (National University of Singapore)

ISLAND, A SITE SPECIFIC AND HUMAN SPECIFIC PERFORMANCE ABOUT WHAT IT MEANS TO

BELONG

Steinunn Hildigunnur Knúts-Önnudóttir (Lund University, Theatre Academy Malmö)


ROOM: A-052

PERFORMING GREEN SPACES

THE GREEN: EXPLORING PLACE-BASED PERFORMANCE PRACTICE IN GLASGOW GREEN

Victoria Bianchi (Queen Margaret University)

SPLINTERING THE IDYLL OF THE BRITISH COUNTRYSIDE WITH INTERSPECIES PERFORMANCE:

NAVIGATING NON-HUMAN TRAUMA THROUGH PERFORMATIVE ACTIVISM, PROBING ILLEGAL FOX

HUNTING

Benjamin Hunt (De Montfort University)

MOVING TO THE RURAL: WHY DO CAPITAL-BASED ARTISTS ORGANIZE THEATRE EVENTS IN A

VILLAGE?

Elena Gordienko (RANEPA)

66


ROOM: ÁG-310

PERFORMING SACRED NARRATIVES

REVISITING THE PRIMAL ELDEST CURSE

Jacob Mann Christiansen (University of Montana)

FEAR AND TREMBLING

Yosef Yzraely (Tel Aviv University)


ROOM: ÁG-201

PLACE I: DISPLACEMENT AND INCLUSION

Chair: Komita Dhanda

STAGING OTHER RUSSIAS: THE CASE OF KIRILL SEREBRENNIKOV AND THE GOGOL CENTRE

Bryan Brown (University of Exeter)

THEATRE FOR SOLIDARITY: SHERMIN LANGHOFF’S THEATRE LEADERSHIP AT THE MAXIM GORKI

THEATER

Hanife Schulte (Queen Mary University of London)

OPPRESSION AND THE ACTOR: LOCATING FREIRE’S PEDAGOGY IN THE TRAINING SPACE

Peter Zazzali (LASALLE College of the Arts)

EXILED LIVES ON THE STAGE: SOME POLICY RECOMMENDATIONS REGARDING SUPPORT AND SELF -

CARE OF ARTISTS AT RISK IN EUROPE

Pieter Verstraete (Free University of Berlin)


ROOM: A-220

SLOW PERFORMANCE ON THE MIDWAY: THE SPACES OF INFANT INCUBATOR EXHIBITS IN

WORLD'S FAIRS AND EXPOSITIONS IN THE US

Susan Kattwinkel (College of Charleston)

THE MASK OF ARLEQUIN: THE ACADIAN/CAJUN INFLUENCE ON STUMP SPEECHES IN NINETEENTH -

CENTURY AMERICAN POPULAR PERFORMANCE

Rick DesRochers (Lehman College)

TWO OUTSIDERS: THE IMPACT OF VENUE ON STAND-UP COMEDY

Yingnan Chu (University of Exeter)


ROOM: ÁG-304

QUEER VISIBILITIES

Chair: Vanessa Macaulay

DIFFRACTIVE CO-CONSPIRACY: DE-CENTRING INDIVIDUALISM THROUGH A QUEER/CRIP

COMMONS APPROACH TO CULTURAL PRODUCTION

Rebecca Tadman (University of Roehampton)

MAKING QUEER AGEING VISIBLE: THE PERFORMANCE ART OF LOIS WEAVER AND PEGGY SHAW

Carolyn Naish (Queen Mary University of London)

THE DISSIPATED SELF: WEIRD POSSIBILITIES OF QUEER AUTOPERFORMANCE

Greg Wohead (Bristol University)

67


ROOM: A-051

MEDIATED NOWHERES: TIME, BODY, ENVIRONMENT

THE MOTIF OF THE REVOLVER AS A TOOL BETWEEN EXISTENTIALISM AND ANTI -REALISM IN

SAMUEL BECKETT’S HAPPY DAYS. LOOKING BACK AT IBSEN’S HEDDA GABLER FROM WINNIE’S

PERSPECTIVE

Laurens De Vos (University of Amsterdam)

BREATH, VOICES, FOAM: BECKETT IN THE GREAT NOWHERE

Mantra Mukim (University of Warwick)

WG 5-103 SCENOGRAPHY

ROOM: ÁG-311

DICHOTOMIC, DESTABILISING AND SHIFTING AESTHETICS OF SPATIAL AND MATERIAL PERFORMATIVITY

Chair: Lara Kipp

GENERATING NON-EGOCENTRIC STORYTELLING USING A SCENOGRAPHY FROM CORD, FABRIC AND

TRUST

Xristina Penna (University of Derby)

DESTABILISING LIGHT: THINKING THROUGH LIGHT TO THE ETHICS OF ENC OUNTER

Katherine Graham (University of York)

RAIA – ARK: A PERFORMATIVE CONFERENCE ON BORDERS, PERIPHERIES, INTERRUPTIONS AND

CROSSINGS

Ines de Carvalho and Ana Vitorino (Visões Úteis)

SPATIAL PERFORMATIVITY: WHAT HAPPENED WHEN WE LOST SPACE?

Nevena Mrdjenovic (University of Technology, Sidney)


ROOM: L-205

AMATEUR/YOUNG AND INTIMACY IN THEATRE

Chair: Keren Cohen

HOW CAN (SHOULD) THEATRE WITH YOUNG AND/OR STUDENT PERFORMERS TACKLE ISSUES OF

INTIMACY?

Anna McNamara (Guildford School of Acting)

BETWEEN AMATEUR AND EXPERIMENTAL THEATRE: THE ALTERNATIVE OF THE 1970S IN THE

SLOVENIAN PERFORMING ARTS

Barbara Orel (University of Ljubljana)


ROOM: O-202

THEATRE ARCHITECTURE AND THEATRICAL SPACES


“BACK-WORLDS”: QUESTIONING WHAT COULD BE BEYOND THE ‘FIRST WALL’ OF THE THEATRE ?

Rafaël Magrou (ENSA Paris Malaquais ACS)

THEATRICAL MODERNITY IN RELIEF: ON GEORG FUCHS’ AND THE MÜNCHNER KÜNSTLERTHEATER

Beatriz Magno Alves de Oliveira (Universidade Federal do Estado do Rio de Janeiro; LMU München)

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SCENOGRAPHIC APPROPRIATION

Sidsel Graffer (Norwegian Theatre Academy)

SUBVERSIVE SPACES OF REAL-LIFE VIRTUAL THEATRE

Attila Antal (Mozarteum University of Salzburg) and Višnja Žugić (University of Novi Sad Faculty of Technical

Sciences)


ROOM: ÁG-101

SHIFTING THE TEXT: TRANSLATION AND ADAPTATION

Chair: Kasia Lech

THE SOLARIS ARCHIVE IN CONTEMPORARY THEATRE: RE-TELLING OLD STORIES WITH NEW

WOR(L)DS

Sanja Vodovnik (University of Toronto)

INHERITANCE AND DEVIATION OF TV DRAMA “SPLITTING COFFINS AND DISTURBING DREAMS”

FROM THE ORIGINAL CLASSIC OF “ZHUANGZI”

Xuehong Jia (Yangzhou University)

A NEW EASTERN METAPHYSICAL INTERPRETATION: ON WU HSING-KUO’S TRANSLATION OF

WAITING FOR GODOT

Yanshi Li (Taiyuan University of Technology)



ROOM: L-204

BUSINESS MEETING


ROOM: L-201

CLOSING/NEW BEGINNINGS


ROOM: A-069

DATABASES 2

Chair: Nora Probst

BRINGING THE ASIDE CENTRE-STAGE: PREPARING AND ANALYSING A CORPUS OF ASIDES FROM

RESTORATION COMEDIES

Beth Cortese (University of Iceland)

T-MIGRANTS – DEVELOPING OF A DATABASE

Berenika Szymanski-Düll (LMU Munich)


ROOM: VHV-007

CLOSING SESSION

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ROOM: L-103



ROOM: ÁG-301

WG BUSINESS MEETING

REMEMBERING THOMAS POSTLEWAIT


ROOM: L-102

SENSING AND PERCEPTIONS IN INTERMEDIAL PERFORMANCE

Chair: Jen Parker Starbuck

ETHICS OF INTEROCEPTIVE PERCEPTION IN PERFORMATIVE VR ENVIRONMENTS

Piotr Woycicki (Aberystwyth University)

POST-HUMAN PORN PERFORMANCES?: SIDSEL MEINECHE HANSEN'S “SECOND SEX WAR” (2016)

Lisa Moravec (Royal Holloway, University of London)

“I'M NOT HERE”: THE DOUBLED BODY (DANCES) IN THE WILD SENSORIUM OF VR ARTWORKS

Katherine Mezur (University of California Berkeley)

THE BETWEENSPACE OF INTERMEDIALITY: DIGITAL INTIMACY IN HYBRID REALITIES

Camille Intson (University of Toronto)


ROOM: A-050

GENDER POLITICS / ETHNOGRAPHY

Chair: TBC

THE SIMULTANEITY OF BINARITY AND QUEERNESS IN OPERA’S CREATION: A REHEARSAL

ETHNOGRAPHY OF SIVAN ELDAR’S LIKE FLESH

Lea Luka Tiziana Sikau (Cambridge University, Faculty of Music)


ROOM: O-106

INTERDEPENDENCE IN DISABILITY PERFORMANCE


A NEURODIVERGENT NOW/HERE: SHIFTING CENTRES, SENSITIVE DRAMATURGY, AND CREATIVE

SPACE FOR AUTISTIC IDENTITIES

Nicola Shaughnessy (University of Kent)

AN INNOVATIVE DRAMATURGY ON THE PERIPHERY OF THEATRICAL LIFE. A DEMONSTRATION OF

PERFORMANCE OF INTEGRATED TROUPE OF (MENTALLY) DISABLED AND NON-DISABLED ARTISTS

FROM SHAKESPEARE’S ROMEO AND JULIET

Ildiko Sirato (Hungarian National Széchényi Library)

PERFORMING INTERDEPENDENCY. THE BOND AS CENTRE IN PARALYMPIC PERFORMANCE BY

ATHLETES WITH VISUAL IMPAIRMENTS AND THEIR GUIDES

Elena Backhausen (University of Mainz)

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ROOM: ÁG-422

CLOSING SESSION


ROOM: A-052

DECOLONIZING SPACE

FIXED IN STONE, POETRY IN MOTION: LANDMARK POETICS AND PERFORMING COMMEMORATION

Deirdre Osborne (Goldsmiths University of London)

DECOLONIZING SPACES OF HISTORY WORKSHOP

Holly Maples (University of Essex) and Mary Caulfield (State University of New York, Farmingdale State College)

A BISCUIT TIN UNRAVELLED: COMMISSIONING COMMODITY TRAILING IN PERFORMANCE FOR

DECOLONIZATION

Lisa Woynarski and Lucy Tyler (University of Reading)


ROOM: ÁG-310

DISCUSSION ON GROUP FUTURE PLANS


ROOM: ÁG-201

PLACE 2: FUTURITY

Chair: Pieter Verstraete

A MANIFESTO FOR THE MANIFESTO TO COME: THEATRE AND THE POLITICS OF A PLANETARY

FUTURE

Tom Cornford and Tony Fisher (The Royal Central School of Speech and Drama)

CHRONOGRAPHY AND MORE-THAN-HUMAN POLITICS IN THE ARCTIC ICESCAPES OF HIMALI SINGH

SOIN

Clara Wilch (University of California Los Angeles)

POSTHUMAN DRAMATURGIES: BEYOND THE CENTRE

Louise LePage (University of York)


ROOM: A-220

DARK UTOPIAS: NATION-BUILDING AND ETHNIC VIOLENCE IN LATE OTTOMAN CHILDREN’S

POPULAR PERFORMANCES

Rüstem Ertug Altinay (Kadir Has University)

ENTERTAINMENT AND SOCIAL CONTROL: SOUTH WALES IRON AND COAL COMMUNITIES IN THE

19TH CENTURY

Larraine Nicholas (University of Roehampton)

BUSHRANGER RE-ENACTMENTS: LEGENDS AND LANDSCAPES

Janys Hayes

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ROOM: ÁG-303

CONCLUSIONS ET PERSPECTIVES


ROOM: ÁG-304

QUEER ECOLOGIES

Chair: Joe Parslow

QUEERING THE FLÂNEUR AS A SCENOGRAPHIC TOOL

Nic Farr (Central School of Speech and Drama)

QUEER COLLECTIVE EFFERVESCENCE UNDER A SHINING STAR

Phoebe Patey-Ferguson (Rose Bruford College)

CRAFTING CRITICALLY: THE SCENOGRAPHY OF QUEER/FEMINIST PERFORMANCE

Emma Lockhart-Wilson (University of Melbourne Faculty of VCA and MCM)


ROOM: A-051

MEMORY MACHINES & ABSENT PLACES

Chair: Céline Thobois

THE HISSING MEMORY MACHINE: TECHNOLOGICAL NOWHERE SPACE IN KRAPP'S LAST TAPE

Henry Nooney (Florida State University)

SAMUEL BECKETT AND HUMOUR: FOR A GENETIC CRITICISM STARTING FROM HIS GERMAN TRIP

Vanesa Cotroneo (University of Buenos Aires- Friedrich Alexander Universität)

WG 6-124 SCENOGRAPHY

ROOM: ÁG-311

Chair: Donatella Barbieri and Xristina Penna

AGM MEETING


ROOM: L-205

Chair: Rikard Hoogland and Smadar Mor

CONCLUDING DISCUSSION (CLOSED SESSION)


ROOM: O-202

STAGING HISTORY: MUSEUMS, MEMORIALIZATION AND ARCHIVES

Chair: Dorita Hannah

A HOUSE OF TERROR: COMMUNISM AS CENTRE AND MARGIN

Bryce Lease (Royal Holloway, University of London)

SHIFTING GROUNDS: PERFORMING THE ARCHITECTURAL ARCHIVE

Popi Iacovou (University of Cyprus)

BACKSTAGE WITH THE MUSEUM AS THEATRE

Lisa Merrill (Hofstra University)

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WG 6-127 TRANSLATION, ADAPTATION AND DRAMATURGY (ÁG -101)

ROOM:

AGM


GP 9-77 GODDESSES, PROPHETS AND BANSHEES

ROOM: ÁG-311

Chair: Lisa Skwirblies

THE FEMININE AT THE CENTER OR THE RADIANCE OF THE GODDESS. JAI DURGE, A PLAY IN THE

BHARATA-NAṬYAM STYLE (INDIAN DANCE-THEATRE) ON THE CONTEMPORARY SCENE.

Géraldine Margnac (Paris 8 University)

NA WO SE SEN: PROPHETIC ARTS AND ARTISTIC PROPHETS

Sarah Dorgbadzi (University of Ghana)

FEMME FATALE: BANSHEE, SHADOWHUNTER OR TRAUMATIZED FEMININITY? EAST CENTRAL

EUROPEAN IDENTITY CONSTRUCTION AND DECONSTRUCTION IN KATALIN KARÁDY’S MOVIES AND

SHORT FILMS

Adrián Lips (Károli Gáspár University of the Reformed Church)

GP 9-78 RE-READING CLASSICAL DRAMA AND THEATRE

ROOM: O-202


ON MARGINS AND CANONS, FROM LIDDELL TO SHAKESPEARE AND VICE VERSA

Remedios Perni (University of Alicante)

SHAKESPEARE FROM THE MARGINS: THE IMMERSIVE EXPERIENCES BY LOS NÚMEROS

IMAGINARIOS

Isabel Guerrero (UNED)

DREAMS AS A NARRATIVE DEVICE IN NOH

Taro Yokoyama (Rikkyo University)

GP 9-79 IMMERSION AND ISOLATION

ROOM: L-103

Chair: Holly Maples

VIRTUAL REUNIFICATION, IMMERSIVE EXPERIENCE, AND AUGMENTED REALITY IN THE

EXPLORATION OF PERFORMANCE THROUGH ART AND ART THROUGH PERFORMANCE: THE

TRIUMPH OF ISABELLA.

Franklin J Hildy (University of Maryland -- College Park)

MOVIE THEATRE: EXPLORING AUDIO DESCRIPTION

Grace Joseph (Goldsmiths, University of London)

NYC PANDEMIC CLAPPING AND THE NECROPOLITICS OF PERFORMANCE

Shayoni Mitra (Barnard College, Columbia University)

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GP 9-80 DECENTRING THE HUMAN

ROOM: L-102

Chair: Louise LePage

VOICE AS PERFORMANCE: TOWARDS THE DECENTRALIZATION OF MEANING

Nikolett Pintér-Németh (University of Pécs)

HUMAN-DECENTERING AND DECOLONIZATION IN CURATORIAL PRACTICES OF BALTIC CIRCLE

FESTIVAL, FINLAND

Nina Vurdelja (University of Tampere)

FOCAL SHIFT: CHANGING CONCEPTIONS OF CONSERVATION, PRESERVATION, AND CARE -TAKING

Emma Morgan-Thorp (York University, Canada)

GP 9-81 FOOLS, CLOWNS AND STORYTELLERS

ROOM: ÁG-304

Chair: Joshua Edelman

KABBALAH SPIRITUAL CULTIVATION FOR CLOWNS

Pierre Bouvery (Montgomery County College Rockville)

THE ESOTERIC ART OF THE FOOL: PLAYING WITH BORDERS AND REALITIES

Howard Gayton (University of Exeter)

STORY MAKERS – MANY VOICES – MANY LIVES

Elisabete Monteiro and Paula Lebre (INET-md / polo FMH)

GP 9-82 THEATRE HISTORIES

ROOM: ÁG-422

Chair: TBC

A STEP TOWARDS DECOLONIZING THE STAGE: IPTA’S CULTURAL AND LEGAL BATTLE AGAINST THE

DRAMATICS ENFORCEMENT ACT, 1876

Anuran Dasgupta (Jawaharlal Nehru University)

“THE EMPEROR'S FIRST THRONE”: STAGING HISTORICAL ROOTS IN FRANKFURT A.M., 1905.

Christina Vollmert (University of Cologne)

THEATRE-IN-THE-ROUND – COMMUNITY PUT CENTRE STAGE

Nic Leonhardt (University of Cologne)

GP 9-83 CENTERING WOMEN IN THEATRE HISTORY

ROOM: ÁG-201

Chair: Kim Solga

OPPORTUNITIES IN PERIPHERAL SPACES – FEMALE THEATRE MANAGERS IN THE 19TH CENTURY

HABSBURG MONARCHY

Patrick Aprent (Austrian Academy of Sciences) and Magret Berger (Institute of Rural History (IRH))

RECENTERING WOMEN ON STAGE: THE CONTROVERSIAL ROLE OF FEMALE ARTISTS IN 18TH

CENTURY PORTUGUESE THEATRE

Marta Rosa (Centre for Theatre Studies)

STANISLAVSKY AND THE MOSCOW ART THEATRE FEMALE DIRECTORS

Maria Ignatieva (Ohio State University)

74

GP 9-84 SPATIAL DRAMATURGIES

ROOM: ÁG-301

Chair: Karen Vedel

ARCHIPELAGO DRAMATURGIES

Katalin Trencsényi (Uniarts Helsinki)

SEA COUNTRY, SALTWATER DRAMATURGIES AND INTERCULTURAL PERFORMANCE IN AUSTRALIA'S

TOP END

Helen Gilbert (Royal Holloway, University of London)

“NOWHERE-IN-PARTICULAR”: THE PROBLEM WITH DRAMATURG AS CARTOGRAPHER

Miranda Laurence (Coventry University)

16:00-17:30 CLOSING SESSION

KEYNOTE LECTURE


Chair: Brogan Davison

PIKENE PÅ BROEN

Inger Blix Kvammen in dialogue with Evgeny Goman

CLOSING CEREMONY

FAREWELLS AND PRESENTATION OF THE HOSTS OF THE 2023 IFTR CONFERENCE

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SOCIAL AND CULTURAL PROGRAMME

DAY TOURS

SUNDAY 19 JUNE

GOLDEN CIRCLE TOUR

The Golden Circle is the name commonly given to a combination of three sites of special significance in the west

of Iceland. These sites are, Þingvellir National park, the hot springs of Geysir and the majestic waterfall

Gullfoss. In addition to these stops, we will also stop and a sneak peek at the life of the ‘cave people’ of

Laugardalshellir caves. Our day tour will take you to all these essential stops and more as we share with you

some of the highlights of Icelandic history and nature all in one magnificent route through the Icelandic

countryside.

Pick-up is at the University of Iceland at 9 AM and we will return t-o Reykjavik at 4:30 PM

Price: 9990 ISK

For further information and booking see: https://iftr.tourdesk.is/Tour/Item/374/9/Golden_Circle_

SATURDAY 25 JUNE

BORGARFJÖRÐUR VALLEY & SETTLEMENT CENTER

Borgarfjörður is a stunning fjord in West Iceland. When driving through the valley it is impossible not to be

amazed. The fjord is home to some of the most beautiful open landscapes and plays a big role in Icelandic

folklore.

We will be visiting Reykholt in Reykholtsdalur valley which has long been known as one of the most remarkable

historical places in Iceland. It served as an educational centre for decades and it was home to Snorri Sturluson

(1206-1241), one of Iceland’s greatest artists and statesman who wrote the Snorra-Edda Sagas.

Close to Reykholt, we'll stop at Hraunarfoss waterfalls that run through the lava field, Hallmundarhraun, which

formed during a volcanic eruption about one thousand years ago. We will also stop in Borgarnes city to visit the

Settlement Centre which provides a wonderful insight into Iceland’s history in two exhibitions; one about the

settlement of Iceland and the other on Egils saga that took place in the neighbourhood.

Price: 11990 ISK - Admission to the Settlement Centre is included in the price

Pick-up is at the University of Iceland at 9 AM. Duration: 9-10h

For further information and booking see:

https://iftr.tourdesk.is/Tour/Item/375/9/Borgarfjordur_Valley__Settlement_Center_

AFTERNOON WALKING TOURS

WALK WITH A VIKING TOUR

Our Reykjavik walking tour is your introduction to our country. It will help you get your bearings and make the

most of your stay in Iceland and brings the history of Iceland to life with exciting stories and Icelandic

mythology.

We’ll visit all of the famous landmarks in the city centre, such as Harpa Concert Hall, Reykjavik Harbour, and

Hallgrímskirkja Church (we’ll teach you how to pronounce that), Reykjavik Pond, and the Parliament building.

https://iftr.tourdesk.is/Tour/Item/374/9/Golden_Circle_

https://www.google.com/maps/@64.1400334,-21.9520729,16.49z

https://iftr.tourdesk.is/Tour/Item/375/9/Borgarfjordur_Valley__Settlement_Center_

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But we’ll also share hidden, local spots with you like a visit to an Elf home; things you’d miss if you didn’t know

what to look for.

We want you to feel the unique, friendly atmosphere of our quirky little city, not just to see the most popular

tourist attractions. We’ll even have a small lesson on the Icelandic language so you can not only walk with a

Viking but talk like one too.

Price: 4990 ISK

Meeting point is at Ingólfstorg at 6 PM. Duration: 2h

For further information and booking see: https://iftr.tourdesk.is/Tour/Item/372/9/Walk_With_A_Viking_Tour_

REYKJAVIK FOLKLORE WALKING TOUR

Iceland is sometimes called the land of the Sagas and on this walk, you get the chance to hear many interesting

sagas involving the hidden people and creatures of Iceland.

We will tell you all about the Icelandic Elves, Trolls, Ghosts like the Deacon of the dark river, the unique mostly

aquatic monsters, the 13 Santa (it's not enough to have just one Santa Claus in Iceland after all 😉), their

mother the child-eating troll called Grýla and finally the only known serial killer of Iceland in a land where it's

easy to get lost in the lava fields...

Price: 4490 ISK

Meeting point is at Ingólfstorg at 6 PM. Duration: 90min

For further information and booking see:

https://iftr.tourdesk.is/Tour/Item/373/9/Reykjavik_Folklore_Walking_Tour

All the tours above are on exclusively on offer for delegates of the 2022 IFTR conference.

For further tour options see: https://iftr.tourdesk.is/Tour

PERFORMANCES AND EVENTS

EVERY BODY ELECTRIC

DORIS UHLICH

This highly charged dance piece by multi-award-winning choreographer Doris Uhlich challenges our

conventional ideas of the body’s limitations and the energy that lives within us all. Combining explosive power

with the gently poetic, a group of dancers with physical disabilities take the audience on a rhythmic and

unpredictable journey into the essence of the human. Even the smallest movement can unleash an incredible

amount of energy.

Every single body possesses its own unique, organic power, but in this piece the group also investigate the

possibilities that come into play when the machine – be it an electric wheelchair, prosthetic limbs, or a pair of

crutches – becomes an extension of the body.

Doris Uhlich has created a large number of dance pieces. In recent years, she has collaborated with artists with

physical disabilities and sought new ways to examine the movements and rhythms of the body.

Location: Harpa Concert Hall

Date and time: Sunday 19 June, 17:00

Price: 2500-4500 ISK

For further information and booking, see: https://www.listahatid.is/en/vidburdir/every-body-electric

MOETIVI CARAVAN

HANDBENDI

Moetivi Caravan is a unique micro-theatre experience for a small number of guests, set in a travelling caravan.

This captivating production for all ages uses animation, music, theatre, puppet theatre and audio-visual

https://iftr.tourdesk.is/Tour/Item/372/9/Walk_With_A_Viking_Tour_

https://iftr.tourdesk.is/Tour/Item/373/9/Reykjavik_Folklore_Walking_Tour

https://iftr.tourdesk.is/Tour

https://www.google.com/maps/place/Harpa+Concert+Hall+and+Conference+Centre/@64.1502487,-21.9344691,17z/data=!3m1!4b1!4m5!3m4!1s0x48d675a9d316864b:0xc1f29c378b85e65b!8m2!3d64.1503954!4d-21.9315809

https://www.listahatid.is/en/vidburdir/every-body-electric

https://www.listahatid.is/en/vidburdir/every-body-electric

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production to explore the difference between the optional mobile home that a caravan symbolizes for many,

and how the experience changes when a mobile home is the result of an involuntary journey or a crisis.

The audience is guided through an open-ended story, shaping their own experience as they glimpse into small

worlds, private lives, and explore a thousand tiny moments that bring us back home.

Handbendi is a multi-award-winning puppetry theatre company based in Hvammstangi in northern Iceland.

Location: Elliðaárdalur

Date and time: Sunday 19 June, 10:00-17:00 (Elliðaárdalur)

Price: 2000 ISK

For further information and booking, see: https://www.listahatid.is/en/vidburdir/moetivi-caravan

ALDA

KATRÍN GUNNARSDÓTTIR, EVA SIGNÝ BERGER AND BALDVIN ÞÓR MAGNÚSSON

ALDA is a poignant installation that erodes the boundaries between dance and visual arts. In ALDA,

choreographer Katrín Gunnarsdóttir draws upon the history of women's collective physical labour, in particular

its relation to repetitive motions and song, to generate an event of intimate female assembly, convergence,

and coalescence.

The driving force behind choreographer Katrín Gunnarsdottir's current work has been the creation of

movement language and imagery from softness, sensitivity, ever-changing movement, and the integration of

bodies with their environment. This piece is the culmination of many years of collaboration between the

choreographer and designer Eva Signý Berger where art forms merge to create a rhythmic wave of experience.

When translated as WAVE, ALDA not only reflects on the form of movement but also refers to time and history,

the old and the emerging new.

Location: Gerðarsafn

Date and time: Every day, 10:00-17:00

Price: 1000 ISK

For further information and booking, see: https://www.listahatid.is/en/vidburdir/alda

WOODS OF WONDER

The biannual Reykjavik Art Festival comes to a close on Sunday 19 June and on that occasion the area around

Elliðaárstöð in eastern Reykjavik will be transformed into a truly wondrous world where anything can happen!

Mysterious creatures will pop up amidst the trees, dancing along to live music. Masked members of the Cloud

Factory and the agile acrobats of Hringleikur surprise guests with goosebump-inducing acts that will entertain

all ages. Enticing scents from food trucks will whet our appetites as we enjoy a range of events in the gorgeous

outdoors.

Location: Elliðaárdalur

Date and time: Sunday 19 June, 13:00-16:00

Price: Free

For further information, see: https://www.listahatid.is/en/vidburdir/woods-of-wonder

ENIGMA

ANNA ÞORVALDSDÓTTIR, SIGURÐUR GUÐJÓNSSON AND THE SPEKTRAL QUARTET

Enigma is a new string quartet by leading contemporary composer Anna Thorvaldsdottir with video art by

renowned video artist Sigurður Guðjónsson. Inspired by the notion of the in-between, the music juxtaposes flow

and fragmentation, as the expanding and contracting fundament in the form of pulsating stasis is contrasted

by fragmented materials – shadows of things that live as part of the whole.

Four-time Grammy nominees the Spektral Quartet co-commissioned the work, described as “like no string

quartet you’ve ever heard” and “wonderful work” that resides on the border between concert music and

installation art.

https://www.google.com/maps/place/Elli%C3%B0a%C3%A1rst%C3%B6%C3%B0/@64.1191455,-21.8375573,15z/data=!4m5!3m4!1s0x0:0x94d7e9eed6b77e20!8m2!3d64.1191455!4d-21.8375573

https://www.listahatid.is/en/vidburdir/moetivi-caravan

https://www.google.com/maps/place/Ger%C3%B0arsafn+K%C3%B3pavogur+Art+Museum/@64.1120597,-21.9123516,17z/data=!3m1!4b1!4m5!3m4!1s0x48d60caa10c62f0d:0xd9d062a775c816e5!8m2!3d64.1120574!4d-21.9101629

https://www.listahatid.is/en/vidburdir/alda

https://www.google.com/maps/place/Elli%C3%B0a%C3%A1rst%C3%B6%C3%B0/@64.1191455,-21.8375573,15z/data=!4m5!3m4!1s0x0:0x94d7e9eed6b77e20!8m2!3d64.1191455!4d-21.8375573

https://www.listahatid.is/en/vidburdir/woods-of-wonder

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Anna Thorvaldsdottir‘s work has been performed by many of the world‘s leading orchestras and ensembles. Her

accolades include the prestigious Nordic Council Music Prize. Icelandic Visual Artist of the Year 2018 Sigurður

Guðjónsson has exhibited around the world and represents Iceland at the 2022 Venice Biennale. In his video

work, image, sound and space intertwine in powerful ways. The Perlan Planetarium creates a unique

atmosphere for this fascinating work.

Location: Perlan Planetarium

Date and time: Sunday 19 June, 19:00 and 21:00

Price: 2900 ISK

For further information and booking, see: https://www.listahatid.is/en/vidburdir/enigma

EMILÍANA TORRINI & THE COLORIST ORCHESTRA IN CONCERT

Emilíana Torrini and The Colorist Orchestra take to the Eldborg stage in Harpa at the Reykjavík Arts Festival.

Their musical collaboration is a truly enchanting, colourful and vibrant experience not to be missed.

Belgian band The Colorist Orchestra have garnered praise for their original and dynamic approach to arranging

and performing music by various artists. In recent years Emilíana Torrini, one of Iceland’s most diverse and

talented musical artists, has enjoyed a fruitful partnership with the band which has given new life to her

beloved songs. These musicians are now working on their second album together, Racing the Storm, as an

identity with its own aural uniqueness emerges.

Location: Harpa Concert Hall

Date and time: Sunday 19 June, 20:00

Price: 4990-14990 ISK

For further information and booking, see: https://www.listahatid.is/en/vidburdir/emiliana-torrini-tco

THEM SPINDRIFT THEATRE Four women from Iceland and Finland explore toxic masculinity through storytelling and physical theatre.

THEM raises the topic of toxic masculinity in modern society and brings out different experiences in connection

with it: dramatic ones, sad ones as well as hilarious ones. The performance is based on over 40 interviews with

men from different Western countries. The performance explores how toxic masculinity shapes gender roles,

narrows our horizons and makes people behave against their better nature. Through THEM Spindrift wants to

shine a light on taboos relating to toxic masculinity and demand respect for feminine qualities.

The actresses also discuss their own encounters with toxic masculinity and unfold their relationship to the

theme.

TW: Physical violence, sexual violence, misogyny, homophobia

The work has recently been shown in Jacksons Lane Theatre in London as a part of the theatre’s Nordic Season,

and this performance is a Preview Night before it officially premieres at the Reykjavík Fringe Festival on 2 July

2022.

Spindrift Theatre is an all-female Nordic theatre collective, founded in 2013, working simultaneously in

Reykjavík and Helsinki.

Location: Tjarnarbíó, Tjarnargata 12

Date and time: Wednesday 22 June, 20:00-21:20

Full price: 3500 ISK - 15% discount for delegates of the 2022 IFTR Conference = 2975 ISK

Booking link: https://tix.is/is/event/13460/them-forsyning/

PLAYCONNCET PLAYWRIGHT READING

TAYLOR MARIE GRAHAM

A free 30 minute reading and 15 minute Q&A.

Taylor is an award winning Canadian Playwright, librettist, theatre researcher, and educator.

Location: Tjarnarbíó, Tjarnargata 12

Date and time: Monday 20 June, 13:00-13:45

https://www.google.com/maps/place/Perlan/@64.1292149,-21.9212394,17z/data=!3m1!4b1!4m5!3m4!1s0x48d60b4cb9a4739d:0x720effd6596f3f29!8m2!3d64.1292126!4d-21.9190507

https://www.listahatid.is/en/vidburdir/enigma

https://www.google.com/maps/place/Harpa+Concert+Hall+and+Conference+Centre/@64.1502487,-21.9344691,17z/data=!3m1!4b1!4m5!3m4!1s0x48d675a9d316864b:0xc1f29c378b85e65b!8m2!3d64.1503954!4d-21.9315809

https://www.listahatid.is/en/vidburdir/emiliana-torrini-tco

https://tix.is/is/event/13460/them-forsyning/

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FAREWELL PARTY!

THURSDAY 23 JUNE

FAREWELL PARTY!

The farewell party will be held in the beautiful foyer of the Reykjavik City Theatre with drinks, street food and

dancing!

The Reykjavik City Theatre was opened in 1989 and is operated by the Reykjavik Theatre Company (est. 1897),

which stages a broad variety of productions each season. The theatre also houses the Icelandic Dance Company

(est. 1973) and provides opportunities for select independent theatre groups to perform their works.

The newly renovated foyer provides plenty of space for a good party, with a variety of seating areas and space

to stroll, mingle and dance.

The house opens at 19:30 and food carts will arrive at 20:00 offering a range of street food before legendary

local DJs Gullfoss & Geysir bring out their record collection.

Price: 6.000 ISK (around 45 Euros)

Included in the price is admission to the party, food and a couple of drinks (no worries, after that the bar will

offer beverages at discount prices throughout the evening).

Book your ticket for the Farewell Party here: https://tix.is/is/bl/buyingflow/tickets/13483/65372/

https://tix.is/is/bl/buyingflow/tickets/13483/65372/

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PUBLISHERS AND BOOK LAUNCHES

Book and journal publishers will be presenting their new publications and projects in the University Book Store

in the University Square. Their stands will be open throughout the conference during opening hours of the

bookstore from 9 AM to 6 PM.

BOOK LAUNCH

COLLABORATIVE CONVERSATIONS: CELEBRATING TWENTY-ONE YEARS OF THE MOTHERTONGUE

PROJECT

To celebrate Mothertongue’s 21st anniversary, Collaborative Conversations weaves together the reflections of

a group of artists, scholars and writers who have journeyed with the organisation over the last two decades.

Since its inception in 2000 with What the Water Gave Me, The Mothertongue Project has used participatory,

integrated arts methods to create theatrical works that strive for personal and collective dialogue and healing

in South Africa.

In poetry, scholarly writing and transcribed oral conversations, the contributors now think and feel their way

through the aspirations and achievements – and the alchemy – of The Mothertongue Project’s work.

Accompanied by photographs of performances from across the 21 years, this book provides a sense of what a

Mothertongue theatre piece does: it draws audience and performers into transformative, embodied

conversations.

Includes work by Awino Okech, Genna Gardini, Koleka Putuma, Makgati Mokwena, Malika Ndlovu, Mwenya B

Kabwe, Nicosia Shakes, Nina Callaghan, Ntomboxolo Makhutshi and Rehane Abrahams.

https://www.modjajibooks.co.za/titles/collaborative-conversations-celebrating-twenty-one-years-of-the-

mothertongue-project/

The launch will take place in the University Book Store in the lunch break on Tuesday 21 June

https://www.modjajibooks.co.za/titles/collaborative-conversations-celebrating-twenty-one-years-of-the-mothertongue-project/

https://www.modjajibooks.co.za/titles/collaborative-conversations-celebrating-twenty-one-years-of-the-mothertongue-project/

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CAMPUS LUNCH OPTIONS

HÁMA – UNIVERSITY CAFETERIA

The University Cafeteria – Háma – offers warm meals during lunch with a choice between meat/fish dishes and

a vegan option. Furthermore, they have two types of soups available, a selection of pre-packed sandwiches and

snacks and a salad bar. Definitely the cheapest option for lunch!

The University Cafeteria is located in the University Square and is open on weekday 8-15. Their rotating menu is

available at https://www.fs.is/en/hama-og-kaffistofur/

STÚDENTAKJALLARINN – THE STUDENT CELLAR BAR

Stúdentakjallarinn – The Student Cellar Bar – offers burgers, sandwiches, salads, pizzas and more in the

basement of the University Square. The menu is available at https://www.studentakjallarinn.is/

Stúdentakjallarinn is the perfect place to wind down after a day of fruitful academic exchange. Probably the

cheapest bar in town.

SONO – VEGAN RESTAURANT

Sono Restaurant is located in the Nordic House (Norræna húsið), at the end of the slope from the University

Square (see Campus map). They offer a variety of vegan dishes with inspirations from North Africa, the Middle

East and Greece. They are open from 10 AM every day except Monday. See: https://nordichouse.is/en/sono-

matseljur/

KAFFI GAUKUR – CAFÉ COOCOO

Kaffi Gaukur is a small café in the basement of Veröld, one of the university buildings (see map) it accessible via

an underground tunnel from the University Square. Kaffi Gaukur offers soups, salads and fabulous sourdough

sandwiches. See: https://www.kaffigaukur.is/

NATIONAL MUSEUM CAFÉ

The National Museum of Iceland – Þjóðminjasafnið (see Campus map) – is located on campus and there you

can find a small café offering light sandwiches and pastry.

https://www.fs.is/en/hama-og-kaffistofur/

https://www.studentakjallarinn.is/

https://nordichouse.is/en/sono-matseljur/

https://nordichouse.is/en/sono-matseljur/

https://www.kaffigaukur.is/

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CAMPUS MAP

Háskólatorg (The University Square) is the main hub of the conference, where you can find the registration

desk, the University Cafeteria, the University Bookstore, and the Student Cellar Bar. This is also the place where

coffee and tea is available during the coffee breaks.

The panels and working group sessions will take place in five buildings: Aðalbygging (A), Lögberg (L),

Árnagarður (ÁG) and Veröld (VHV).

Keynotes and opening and closing ceremonies will take place in Háskólabíó (The University Cinema).

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FLOOR PLANS AÐALBYGGING (MAIN BUILDING)

BASEMENT

2N D FLOOR

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ÁRNAGARÐUR

1S T FLOOR

2N D FLOOR

3R D FLOOR

85

4TH FLOOR

LÖGBERG

1S T FLOOR

86

2N D FLOOR

ODDI

1S T FLOOR

87

2N D FLOOR

VERÖLD

BASEMENT

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iftr world congress reykjavik, iceland 20-24 june 2022

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